1 100 74 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 2285 Material recycled silver Natural Cultural Cultural Craft metalwork Field Worker Catherine Anne Cassidy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Silver Eagle Brooch Type The nature or genre of the resource Physical Object Description An account of the resource A recycled silver eagle brooch with topography details of the Cairngorm National Park, created by Amy Ferguson Niven. Creator An entity primarily responsible for making the resource 2284 Language A language of the resource English Subject The topic of the resource Fashion Contributor An entity responsible for making contributions to the resource cc274@st-andrews.ac.uk Identifier An unambiguous reference to the resource within a given context 951 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 14/05/2026 Spatial Coverage Spatial characteristics of the resource. current,57.26298268908859,-3.6481103558198336; Date Modified Date on which the resource was changed. 14/05/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 2157 Natural Cultural Cultural Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dawn Treader Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 836 Source A related resource from which the described resource is derived craftedobjects,scotlandobjects,timespanrural Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 26/01/2026 Date Modified Date on which the resource was changed. 17/03/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context Blacksmithing is closely connected to various other cultural practices, as it has historically helped shape community life, traditional crafts, and symbolic expressions. Craftsmanship – Blacksmithing is intertwined with woodworking (metal parts for furniture and tools), pottery (metal tools for shaping), leatherworking (metal buckles and fittings), and carpentry (nails, pins, door hardware). Oral traditions and storytelling – Tales of blacksmiths are common in folklore, where they are often portrayed as wise and strong figures. In mythology, the blacksmith often held a special status (e.g., Perun’s blacksmith in Slavic mythology). Festivals and fairs – Blacksmiths frequently participated in traditional fairs, where they showcased their products. In Slovenia, events like Kovaški šmaren in Kropa are still popular today. Performing arts – Folk plays, songs, and dances often include themes of blacksmithing (e.g., the rhythmic sound of hammering). Puppet theatre also occasionally features blacksmith characters. Social and economic practices – Blacksmiths played a central role in local communities as essential craftsmen, often with high social status. Beliefs and symbolism – Blacksmithing is often associated with protective symbols (e.g., the horseshoe as a sign of good luck) and was once believed to offer magical protection against evil spirits. These connections show that blacksmithing is not merely a technical craft but a rich cultural practice that weaves together knowledge, tradition, and community life. Field Worker Barbara Ivančič Kutin Climate Threats Mining Technological Threats Industrial production Weakened Practice Diminishing youth interest Climate Actions Community Engagement SDG Decent Work and Economic Growth,Industry Innovation and Infrastructure,Sustainable Cities and Communities,Responsible Consumption and Production,Life On Land External ID ZRCSAZU_CP_04 AI Tools Yes AI Content Deepl Translator, general information. Knowledge The work of a blacksmith requires enjoyment of work, sufficient physical strength, agility, and endurance for working in hot conditions, as well as a sense of design and precision. Although the work is rough and requires physical strength, a forger must also have a soft side, because without softness and the right feeling, a beautiful product cannot be created. Knowledge Transfer Today, traditional (manual) blacksmithing is dying out. Kovaštvo Krmlelj is one of the few tool-making smithies in Slovenia (or the only one???). Master blacksmith Jože Krmelj has passed on all his knowledge to a younger employee, and for the last two years they have also had an apprentice from a vocational metalworking school. Every Saturday, Jože Krmelj holds one-day workshops for 5 to 7 people, but these are not intended for training, but rather for viewing and experiencing blacksmithing. The workshops are booked up several months in advance and are attended by interested people from Slovenia, including design students, as well as people from abroad, including Australia, Tasmania, and the USA. Practitioners In the case of Krmelj blacksmithing, it is a family tradition that has been passed down from generation to generation for seven generations. That is why blacksmithing and its products are a family heritage. Only men are employed in the workshop, as the working conditions are extremely difficult: physical strength is required, and the workshop is hot and noisy. Function Transfer of traditional crafts, providing income for the workshop owner and thus for the family and workshop employees. Origins and change Blacksmithing was an important craft in the past, enabling the production of metal products needed for tools and other implements used in agriculture (farming, livestock breeding) and household chores, etc.). The most important advance came with the invention of the spring hammer machine, which greatly facilitated the work of blacksmiths, who previously used only their own physical strength to shape metal products, and other electric machines (welding apparatus, grinding machines). On the machine it is possible to regulate the speed and power of the punch. Nevertheless, most of the work is still done by hand, using open fire and manual shaping and hardening. The Krmelj blacksmith's workshop still uses machines and tools that are 100 years old and are still perfectly adequate today. This is why all products are unique, which distinguishes them from mass-produced (industrial), technologically advanced, and automated production. Access to raw materials is easier today, and the product assortment has also changed to some extent, as customer needs are different. Organisations No specific organisation is linked to this practice. Places There are only two blacksmiths in the region who make tools; traditional blacksmithing is now a very rare craft. Artefacts These are forged tools of all kinds, but mostly cutting tools (various axes, sickles, pruning hooks, as well as ice pickaxes, shovels, hammers, etc.). They are used for various tasks in the garden, in the field, in the forest, in the household, but also as equipment for firefighters, tools for masonry, butchery, and archaeological excavations. Technological Threats Description Machine-made products are all the same and can be much cheaper; they don't involve as many hours of manual labour. Not all customers recognise this. Weakened Practice Description This is an artistic practice, so none of these threats are relevant. State of the practice stable Social sustainability The craft of blacksmithing in Krmelj has been passed down from generation to generation. Environmental sustainability There is almost no waste, as it is completely recycled, and a few buckets per year are sold to a landfill site for raw materials. Heat from the stove is stored in storage tanks and used to centrally heat the house and both workshops. Economic sustainability It provides a living for the owner and 5 employees. Place The town or city Log nad Škofjo Loko, Gorenjska, Slovenia Place Description The village Log nad Škofjo Loko (Log above Škofja Loka) is situated in the Poljanska valley, about 10 km south-west of Škofja Loka, where the municipal center is located. Škofja Loka, one of Slovenia’s oldest and best-preserved medieval towns, is rich in historical, natural, social, cultural, and economic significance. Founded in the 10th century, Škofja Loka was a key administrative center under the rule of the Bishops of Freising, who governed the area for over 800 years. The town’s medieval layout remains largely intact, with landmarks like Škofja Loka Castle, historic townhouses, and remnants of defensive walls. Historically, Škofja Loka thrived on trade, crafts, and agriculture, with traditional industries such as ironworking, textile production, and woodworking playing an essential role. Today, the local economy is diverse, with tourism, small-scale manufacturing, and services being dominant sectors. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Traditional Blacksmithing Type The nature or genre of the resource Intangible Description An account of the resource 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. Creator An entity primarily responsible for making the resource 2121 Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 820 Source A related resource from which the described resource is derived practices,uppercarniola References A related resource that is referenced, cited, or otherwise pointed to by the described resource. 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 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/01/2026 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Kovaštvo Krmelj Spatial Coverage Spatial characteristics of the resource. current,46.1276625914593,14.229099836053459; Date Modified Date on which the resource was changed. 13/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context Lidija Debelak includes in her works motifs that are part of local and Slovenian folklore and tradition, e.g. the ornaments of the Mali kruhek (Little Bread), entered in the Slovenian Register of Intangible Heritage: http://www.nesnovnadediscina.si/en/register-of-intangible-cultural-heritage/making-small-breads-and-wooden-models )); she uses traditional ornaments which are on paintings of old chests; on her reliefs she applies handmade lace, which is also entered in the National Register of Intangible Heritage (Making Slovene bobbin lace:http://www.nesnovnadediscina.si/en/register-of-intangible-cultural-heritage/making-slovene-bobbin-lace). Field Worker Barbara Ivančič Kutin Technological Threats Industrial production Climate Actions Community Engagement SDG Decent Work and Economic Growth,Sustainable Cities and Communities,Responsible Consumption and Production,Life On Land External ID ZRCSAZU_CP_03 AI Tools Yes AI Content Deepl Translator. Knowledge She had previously taken a pottery course (on the spindle), but this did not suit her and she wanted a different approach to clay as a base material. She developed the technique of making reliefs from air-dried clay by experimenting on her own. Knowledge Transfer She herself is passing on the knowledge to younger generations through 4 workshops for primary school children and one for adults. However, the procedures are lengthy and therefore the product cannot be made in a short workshop. That is why she does not have many such workshops. Practitioners The practice of air-dried clay products is unique in this environment, and Petra Debelak knows no one else in Slovenia who is engaged in this type of practice. Function This practice enables personal and community development, contributes to the sustainable development of local environments, connects tradition with modern life, and facilitates the transfer of knowledge through workshops. Origins and change The technique is unique. Initially, Petra used " bobrovci" - a ceramic roof tile - for the underlay. Later, she changed this to wooden panels (mediapan or natural wood). The technique progressed with experience and practice, so that the products became more and more sophisticated. The tools remain the same, and there are very few of them (roller, small sharp knife, brushes). Organisations No specific organisation is linked to this practice. Places The workshops took place in a primary school Gorenja vas and at the DUO Handicraft Centre in Škofja Loka. Artefacts Making reliefs from dry clay does not require many tools. Pre-prepared materials are the basic wooden tiles, which is prepared by the joiner using machines.Gift packaging is produced by a local manufacturer. Economic Threats Description High taxes and margins. Technological Threats Description Machine-made products are all the same and can be much cheaper; they don't involve as many hours of manual labour. Not all customers recognise this. Weakened Practice Description This is an artistic practice, so none of these threats are relevant. State of the practice stable Social sustainability This practice does not require a lot of space or expensive equipment. Environmental sustainability There is no waste, practice does not require electricity. Economic sustainability This practice contributes to economic sustainability, opens up the market, strengthens local entrepreneurship, and enables individuals to earn a living. Place The town or city Gorenja vas, Gorenjska, Slovenia Place Description Gorenja vas is situated in the Poljanska valley, about 16 km south-west of Škofja Loka, along the Sora River and its right inflow, the tributary Brebovščićica. Škofja Loka, one of Slovenia’s oldest and best-preserved medieval towns, is rich in historical, natural, social, cultural, and economic significance. Founded in the 10th century, Škofja Loka was a key administrative center under the rule of the Bishops of Freising, who governed the area for over 800 years. The town’s medieval layout remains largely intact, with landmarks like Škofja Loka Castle, historic townhouses, and remnants of defensive walls. Historically, Škofja Loka thrived on trade, crafts, and agriculture, with traditional industries such as ironworking, textile production, and woodworking playing an essential role. Today, the local economy is diverse, with tourism, small-scale manufacturing, and services being dominant sectors. Prim Media 2104 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Reliefs made from air-dried clay. Type The nature or genre of the resource Intangible Description An account of the resource 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. Creator An entity primarily responsible for making the resource 2100 Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 813 Source A related resource from which the described resource is derived practices,uppercarniola Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/01/2026 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Reliefi iz zračnosušene gline. Spatial Coverage Spatial characteristics of the resource. current,46.1072,14.1481; Date Modified Date on which the resource was changed. 13/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 2089 Context Closely linked to the practice of carving these models is the practice of baking "mali kruhek" (small bread). Both together are also listed in the Slovenian Register of Intangible Heritage. http://www.nesnovnadediscina.si/en/register-of-intangible-cultural-heritage/making-small-breads-and-wooden-models Field Worker Barbara Ivančič Kutin Economic Threats Insufficient financial resources,Increased income disparity Technological Threats Industrial production Weakened Practice Diminishing youth interest Climate Actions Community Engagement SDG Decent Work and Economic Growth,Sustainable Cities and Communities,Responsible Consumption and Production,Life On Land External ID ZRCSAZU_CP_02 AI Tools Yes AI Content Chat GPT was used for summarisation and translation of the text, and drafting of some answers which required technical or generalized (i.e. not the interviewer's specific) special knowledge. Knowledge Woodcarving requires various skills that enable precise and creative work with wood. Manual dexterity and precision: a woodcarver must have good control over tools and the ability to shape fine details. Knowledge of wood: understanding different types of wood, their structure, hardness, and properties is essential for successful carving. Tool proficiency: mastering traditional carving tools such as chisels, knives, and files, as well as modern equipment for more precise or efficient work. Spatial visualization and design skills: the ability to envision the final product and a good sense of proportion and aesthetics. Patience and perseverance – Carving is a demanding and time-consuming process, so precision and persistence are key to achieving high-quality results.These skills allow a woodcarver to develop their own style and create unique pieces that reflect their creativity and technical expertise. Knowledge Transfer In Škofja Loka and Slovenia in general, the knowledge of woodcarving is passed on in group and individual workshops led by experienced craftsmen. Practitioners Exact data on the total number of woodcarvers in Slovenia and the percentage of women among them is not available. Given the traditionally male-dominated nature of craft professions, it is likely that the proportion of women among woodcarvers is lower, but without precise data, this cannot be confirmed. But it is the female carver - Petra Plestenjak Podlogar - who is best known for carving the little bread models. Function The carving of molds for mali kruhek (small bread) - a type of honey pastry shaped in wooden molds) holds several important social functions and cultural meanings for communities, groups, and individuals today. Preservation of cultural heritage: this is a traditional craft passed down through generations, helping to maintain knowledge of folk woodcarving and honey pastry baking. Identity and community bonding: in places where mold carving and "mali kruhek" baking are still practiced, this tradition strengthens local identity and a sense of belonging. It is often associated with holidays, fairs, and local festivals. Artistic and craft expression: carving these molds is not just a craft but also an artistic expression, where artisans create unique motifs, often with historical or symbolic meanings. Touristic and economic aspect: wooden molds and "mali kruhek" are valued as souvenirs and part of the local tourism offer, contributing to the promotion of regional culture and providing additional income for artisans. Personal meaning and symbolism: baking and gifting "mali kruhek" often carry symbolic values related to luck, prosperity, and good wishes, giving this tradition special emotional significance for individuals. Thus, the carving of molds for "mali kruhek" continues to play an important role in preserving cultural heritage, strengthening community ties, and fostering artistic creativity. Origins and change The origins of carving molds for dough stamping date back to the Middle Ages when they were primarily used by monasteries and the wealthier classes to create ceremonial pastries. Over time, the practice spread to craftsmen and peasants, with designs adapting to local traditions. This was also the case of "mali kruhek" (small bread) in Škofja Loka, where the tradition expanded from the monastery. Initially, the molds were crafted by skilled carvers, but later, bakers and local artisans also took up the practice. While the techniques have remained largely unchanged due to the handmade nature of the craft, the tradition continues to thrive, particularly through handicraft workshops, museums, and tourist event. Organisations No specific organisation is linked to this practice. Places Workshops are held in the museum and handicraft centre in Škofja Lokita and in the workshop of carver Petra Plestenjak Podlogar for individual participants. Artefacts The carving of the small bread moulds is carried out with minimal tools such as wooden planks and various chisels, as well as abrasive tools (mainly cotton cloth or a natural brush). The only pre-prepared materials are the basic wooden tiles and the basic shape cut into them, which is prepared by the joiner using machines. Economic Threats Description Hand-carved products are more expensive than the industrially produced ones sold in souvenir shops, due to the time investment involved. In addition, shops have high margins, which make the product even more expensive. Sales are limited to orders and to the museum shop and the handicraft centre, which have lower margins. Technological Threats Description Machine-made wooden products with a relief similar to hand carving are much cheaper; uninformed customers find carved products expensive because they do not realise how many hours of work go into a single product. . Weakened Practice Description The economic viability of carving is uncertain, making it less attractive as a professional activity. It is more interesting as a hobby or as a complementary activity. State of the practice stable Social sustainability Carving does not require a lot of space or expensive equipment. It can be adapted for children, the elderly and people with disabilities, making it an inclusive craft. Environmental sustainability Yes, the practice contributes to environmental sustainability, as it uses only natural materials, in fact mostly wood waste, and does not require electricity. Economic sustainability ? Place The town or city Škofja Loka, Gorenjska, Slovenia Place Description Škofja Loka, one of Slovenia’s oldest and best-preserved medieval towns, is rich in historical, natural, social, cultural, and economic significance. Founded in the 10th century, Škofja Loka was a key administrative center under the rule of the Bishops of Freising, who governed the area for over 800 years. The town’s medieval layout remains largely intact, with landmarks like Škofja Loka Castle, historic townhouses, and remnants of defensive walls. Historically, Škofja Loka thrived on trade, crafts, and agriculture, with traditional industries such as ironworking, textile production, and woodworking playing an essential role. Today, the local economy is diverse, with tourism, small-scale manufacturing, and services being dominant sectors. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Models for baking small bread (mali kruhek) Type The nature or genre of the resource Intangible Description An account of the resource 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. Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 809 Source A related resource from which the described resource is derived practices References A related resource that is referenced, cited, or otherwise pointed to by the described resource. 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 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/01/2026 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Rezbarjenje modelčkov za peko "malega kruhka" Spatial Coverage Spatial characteristics of the resource. current,46.16645630152873,14.307220267982746; Creator An entity primarily responsible for making the resource 2088 Date Modified Date on which the resource was changed. 13/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context Spinning wool, weaving, kiltmaking, tailoring. Field Worker Netty Sopata Economic Threats Insufficient renumeration Weakened Practice Aged practitioners,Diminishing participation,Diminishing youth interest,Halted transmission between generations,Reduced practice Loss Threats Loss of knowledge SDG Good Health and Wellbeing,Responsible Consumption and Production,Life On Land External ID AAS_CP_06 Knowledge To shear a sheep requires practise and stamina. The way in which the sheep is handled determines whetehr they will stay still so a sequence of movments are followed to guide the animal into certain posiitons as the shearer cuts away the fleece in certain directions. When carried out correctly a whole fleece is removed from a sheep in one piece with a calm and un-stressed animal. Knowledge Transfer In Ness some commuinal shearing still takes place using hand shears but this is decreasing, as such so too are the opportunities for the younger generations to learn those skills. It is also similar for machine shearing, but because you can earn money from machien shearing it is more attractive for younger people to learn. Practitioners There are two well known shears that operate commericially across the Isle of Lewis and Harris. Therew ill be more across the rest of Scotland, but due to geographical boundaries they do not travel over to the islands to work. Function Shearing as a village community at the village fank does still occur sometimes, normally if all of the livestock are gathered from the common grazing on a day that the machine shearer has been booked. This becomes a social occasion, gaelic is spoken in these scenarios and stories or 'yarns' are told. Origins and change Sheep need to be shaered once a year for their welfare - this has not altered since humans began to rear and keep them. Organisations The Wool Board: https://www.britishwool.org.uk The Crofters Commission: https://www.crofting.scotland.gov.uk Places Each village in the area of Ness has a 'Fank.' A dedicated, outdoor handling facility to pen sheep in and handle them for shearing, dosing and dipping. Artefacts Woven Tweed Fabric. Climate Threats Description As the climate changes and becomes warmer the time at which the wool rises i.e the old fleeces is ready to cut away has altered. Over the peast couple of years some Crofters have sheared as early as May Economic Threats Description The price the woolboard pays the crofter fro each fleece is less than the crofter has to pay for the sheep to be sheared. Weakened Practice Description In Ness some commuinal shearing still takes place using hand shears but this is decreasing, as such so too are the opportunities for the younger generations to learn those skills. It is also similar for machine shearing, but because you can earn money from machien shearing it is more attractive for younger people to learn. State of the practice declining Social sustainability It contributes to social cohesions when the viallge athers livestock at the fank in preparation for the shearing to commence. Environmental sustainability Wool is a sustainable resource. Economic sustainability It supports the self-sufficient lifestyle of crofting and has to take place foe the welfare of the animal. Place The town or city Habost, Port of Ness Place Description Habost is a vilage that sits within Galson Estate which consists of 56,000 acres of coast, agricultural land and moor in the North West of the Isle of Lewis in the Outer Hebrides of Scotland. The estate comprises of 22 villages running from Upper Barvas to Port of Ness with a population of nearly 2,000 people. The estate passed into community ownership on 12 January 2007, to be managed on their behalf by Urras Oighreachd Ghabhsainn (https://www.galsontrust.com) The area is rural, with a strong cultural heritage centered around the gaelic language, traditional music and crofting. Prim Media 2078 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sheep Shearing Type The nature or genre of the resource Intangible Description An account of the resource 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. Creator An entity primarily responsible for making the resource 2076 Language A language of the resource English,Scottish Gaelic Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 803 Source A related resource from which the described resource is derived highlandandislands Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 05/01/2026 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Clipping Spatial Coverage Spatial characteristics of the resource. current,58,-6; Date Modified Date on which the resource was changed. 05/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context With mountain cattle farming and the so-called fiestas de prao—traditional outdoor celebrations in northern Spain, especially in Asturias—people gather to eat and drink together, enjoy dancing, and listen to traditional music. These events often form part of the patron saint festivals of towns or parishes. Field Worker Carmen Pérez Maestro Economic Threats Insufficient financial resources Weakened Practice Reduced practice SDG Zero Hunger,Good Health and Wellbeing,Responsible Consumption and Production,Partnerships for the Goals External ID LAPONTE_CP_07 Knowledge Knowledge of the type of milk and rennet used, the kneading of the product, and the maturation processes is essential. The curd is passed through the “rabilar machine” several times, with salt being added during some of the passes. The mass (known as gorollos) is then shaped by hand into a truncated pyramid and stored in an airing chamber for a period ranging from five days to two weeks, at a temperature of 14–20 °C. The gorollos may be kneaded in the machine as many times as necessary to achieve the texture desired by each producer. The greater the number of passes, the finer and more homogeneous the cheese will be; it will mature better and develop a stronger flavour. Finally, it is shaped by hand into a cylindrical–disc form or a round wheel and the upper face is marked with a punch or stamp bearing the producer’s emblem. It is then kept for at least one day in the airing room. The marcu casín (the stamp applied to the cheese) goes beyond the simple identification of an individual cheese, as it also seeks visual appeal: its impressions are placed on the most visible face of the cheese, covering it completely. Knowledge Transfer The tradition was passed down within families, essentially from mothers to daughters. Today, there is no generational transmission, and it is produced by only two dairies. Practitioners Quesería Redes was founded in 1989 by Marigel Álvarez, and in 2018 it was inherited by her daughter, Natalia Lobeto Álvarez. The complex includes the dairy, a hotel, and a shop selling cheeses and other local products. Quesería Ca Llechi was opened in 2012 and is run by Alberto Valiente. Function The human connection is intrinsic to the essence of this product, particularly when discussing its unique method of production. Today, cheese production remains purely artisanal and highly labour-intensive, resulting in limited output that once threatened its survival. Its preservation has relied largely on the efforts of the women who produce it for family consumption and the dedication of a cheesemaker who, for a long period, was the only person to showcase and sell the product at fairs and traditional markets throughout Asturias and across Spain. The support of local rural development groups has also been important. Origins and change Canut (2000) maintains that “Casín cheese, due to its method of production and the rustic tools used, may be one of the oldest in Spain and forms part of the group of cheeses made in the Cantabrian Mountains that trace their origins directly back to the Neolithic and the first settlers who arrived in the backbone of the Peninsula.” Written records of cheese production in the area date back to the 14th century. In the leases of the mansos of San Salvador de Sobrecastiello and San Juan del Campo, managed by the Convent of Nuestra Señora de la Vega in Oviedo, Casín cheese is mentioned for the first time: in 1328, during the abbacy of Dª. Gontrodo, the mansos of San Salvador de Sobrecastiello were leased for six years at a price of 70 maravedís, payable on 1st September, along with “ten roasted cheeses” (dolze quesos assaderos) to be paid on each Saint Martin’s Day in November. Further references to this cheese appear in the writings of Jovellanos (18th century), in Madoz’s Diccionario Geográfico published in the early 19th century, and in Dionisio Martín Ayuso’s Curso de Agricultura Elemental, published at the end of the 19th century. Mentions of Casín cheese continued in various 20th-century publications. In the 1980s, at the First Casín Cheese Fair organised by the Ayuntamiento de Caso, 42 female artisans participated; today, in 2025, only two remain. Regarding the process, Casín was originally made exclusively with milk from the casina cow (Asturian Mountain breed). The milk from these dual-purpose cows has an excellent fat content, imparting unique characteristics to the cheese. Today, while the casina cow is still used, milk may also come from higher-yielding breeds such as the Friesian. Indeed, the casina is considered an endangered native breed. What has changed are the materials used in cheesemaking, such as the rabilar machine, which was formerly wooden with rollers operated by a manual crank. Today, it is an electric steel machine, as are the stamps and marks Organisations El Certamen del Queso Casín es un evento anual que trabaja por mantener viva la tradición ancestral de este milenario queso. Tiene lugar el último sábado de agosto en Campo de Caso. Sin embargo al quedar unicamente dos queserías este va a ser dificl de mantener. Antiguamente este certamen se celebraba al aire libre y llegaban a participar hasta 30 elaboradoras de queso. Places See in the Practitioners section. Artefacts The rabilar table or machine originated as an adaptation of a tool used in traditional baking. It is a device consisting of two rollers rotating in opposite directions, designed to break up, crumble, or shred the pressed curd. There are two types of stamps used to imprint the cheese. The first, applied to the semi-processed curd or gorollo, was called an ochavau: a cylindrical or spindle-shaped wooden piece, decorated at the ends with simple symbols, which was pressed onto the gorollo as many times as it had been kneaded. For the finished cheese, the marcu or cuñu is used—also made of wood but larger and more complex, with a variety of imprints—serving both decorative purposes and to identify the production. Today, these stamps are made of stainless steel. Economic Threats Description The procedures with the public administration are very tedious, and the purchase of steel equipment for its production is costly, which prevents new initiatives from emerging. Weakened Practice Description The practice has declined to the point that there are now only two producers of this cheese. They are young, but generational succession will be needed. Health regulations and the costs associated with adapting the dairies have partly contributed to the decline in production of this cheese. Safeguarding activities For several decades, the Casín Cheese Festival has been held annually. The event revolves around two main pillars: the market, featuring stalls from Casín cheese producers, and the cheese competition for dairies registered under the Casín PDO. In parallel, various complementary activities take place, such as cooking contests, tastings, workshops, exhibitions, performances by folk groups, a charity marathon, and special menus. State of the practice declining Social sustainability Not applicable Environmental sustainability Yes, because it uses local raw materials for its production. Economic sustainability Yes, because it is an artisanal process, minimally mechanised. Place The town or city Queseria Redes, Campo de Caso 43°10'53"N 5°20'26"W- Queseria Ca Llechi, Pintueles, Piloña 43°22'27"N 5°21'31"W Place Description A full-fat, matured cheese made from whole, raw cow’s milk, using enzymatic coagulation and a kneaded curd, with a semi-hard to hard texture. It has an irregular cylindrical–disc shape, with one face embossed with floral or geometric motifs, symbols, or the name of the person who makes it. It measures up to 20 cm in diameter and up to 7 cm in height. It has a strong, slightly piquant flavour. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Casin Cheese Type The nature or genre of the resource Intangible Description An account of the resource 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). Language A language of the resource Asturian,Spanish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 796 Source A related resource from which the described resource is derived asturiasmap,practices References A related resource that is referenced, cited, or otherwise pointed to by the described resource. 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; Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 19/12/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Queso casín, Quesu Casín Spatial Coverage Spatial characteristics of the resource. current,43.18138889,-5.34055556;origin,43.37416667,-5.35861111; Date Modified Date on which the resource was changed. 07/04/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context With the Asturianada, Tonada, or Asturian Song, which is a traditional song of popular type, the bagpipe serves as accompaniment. The performance begins with a floréu, or melodic introduction, played by the musician. The bagpipe also accompanies traditional Asturian dances and forms a fundamental part of the Bagpipe Mass. Field Worker Carmen Pérez Maestro Weakened Practice Aged practitioners,Reduced practice External ID LAPONTE_CP_06 Knowledge The bagpipe craftsman (Facedor de gaites) must be familiar with the types of wood available in the forest in order to choose the most suitable for making the instrument. They should know how to work and turn the wood, as well as the process of tanning hides (although today most bellows are made from synthetic materials or fabrics, as are the decorative coverings of the bagpipe). They must also have knowledge of music, which allows the maker to understand scales, tones, and how to tune each pipe of the instrument so that it sounds harmonious. "To successfully practise the craft of bagpipe making, appropriate machinery and tools are required, along with manual skills, knowledge of materials, a good eye for proportions, and the trained ear of an experienced musician" (Web Taller de Gaitas Alberto Fernández). Knowledge Transfer In Asturias today, the transmission of the craft of bagpipe making, that is, the artisanal construction of the Asturian bagpipe, occurs through a combination of channels: family-run workshops and the training of new luthiers, who learn either independently or under guidance. The organisation Conceyu de la Gaita plays a significant role in promoting the craft; its website serves as a reference point and provides visibility for those wishing to get started. There are also courses, workshops, and educational activities; for example, some artisans run practical sessions on basic maintenance, the adjustment and construction of bagpipe components, including woodturning, timber selection, reed adjustment, and tuning. Practitioners The craft of making bagpipes in Asturias is traditional and remains predominantly male, although the “vistíu” (decorative covering of the airbag) and the “pezolera” (textile ornamentation on the drone) are created by women. Public information about the women who specifically make the decorations and bellows of Asturian bagpipes is not readily available. However, the Conceyu de la Gaita website provides a list of bagpipe makers: Alberto Fernández, Vicente Prado “El Pravianu”, Chus Solís, Gaitas Linde, Simón San José, Oliver Gaitas, David López, and Obradoiro de Gaitas Seivane. Function The making of bagpipes in Asturias is important for several cultural, economic, and social reasons. Asturian bagpipes are a traditional symbol of the region, present in festivals, popular celebrations, and both folk and contemporary music. Having bagpipes made in Asturias strengthens the connection between music, tradition, and local identity. Bagpipes crafted in Asturias adhere to traditional standards of sound and construction. This ensures that musicians can accurately perform Asturian folk music. This activity not only preserves traditional techniques but also inspires innovation within the craft, combining artisanal skills with creativity in design and ornamentation. Origins and change Thanks to the Bagpipe Museum located in the city of Gijón, musicians, craftsmen, and researchers can access documentation, historical instruments, and gain detailed insight into how the construction of bagpipes has evolved. There is extensive documentation on bagpipers, that is, those who play the bagpipe, but far less on the makers and the manufacturing process of the instrument. According to documentation from the 1920s (Fernández, 2008a), Asturian craftsmen worked with woods such as boxwood, which grows very slowly and was scarce, using rudimentary tools that limited their rate of production. The lathe consisted of a system of rope, pedal, and flexible pole that allowed the piece of wood to rotate, making the application of tools more difficult. These tools were homemade and included gouges, chisels, and augers, while the interior of the chanter was hollowed out using reamers made by the craftsmen themselves. Finishing was done with coarse cloth, beeswax, or occasionally shellac. The most highly valued skins were kid skins, and the making of the bagpipe covers was usually carried out by the craftsmen’s wives, who even handcrafted the fringes knot by knot. Innovation and changes in contemporary manufacturing have come with the use of new types of wood, the inclusion of methacrylate components and other plastics and fully mechanised turning tools, although some finishing work is still carried out by hand. Decorative elements have also changed, such as the tassels (farrapos) and the bag cover, which are used to personalise the instruments. Asturian craftsmen, drawing on their experience with historical bagpipes, developed a model suited to the needs of younger players, featuring tempered tuning and chromatic fingering. In 1991, a second method was published, still in use today, which introduced an alternative position for the seventh degree of the scale and an empirically developed chromatic chart. Influenced by interceltic festivals, emphasis was placed on the B♭ d Organisations Asociación Cultural Conceyu de la Gaita: It is a non-profit cultural association founded in Asturias, with the mission of revitalising and keeping the world of the Asturian bagpipe alive from a transversal perspective. It serves as a meeting point for professionals, enthusiasts, researchers, and instrument makers, all united by the same passion: the Asturian bagpipe and its cultural heritage. Places here are no collective spaces for the manufacture of bagpipes, nor are there any buildings specifically devoted to their production that have been granted cultural heritage status Artefacts Woodworking Tools: Mechanical or electric lathe,Electric drill, Milling machine, Band saw / circular saw,Electric sander,Gouges, Chisels, Augers, Reamers, Calipers and micrometers.Tuning and Acoustic Tools. A reamer (escariador) is a tool used to widen, shape, or smooth the interior of a hole or tube. In the context of bagpipe making, the reamer is primarily used to hollow out and give the correct taper to the interior of the chanter or pipe, ensuring that the bore is uniform and that the airflow is correct for proper tuning and sound quality. State of the practice stable Social sustainability Not applicable Environmental sustainability Not applicable Economic sustainability Not applicable Place The town or city The whole of Asturias Place Description The history of bagpipe making in Asturias is linked to its origins as a popular instrument in the Middle Ages, with the earliest depictions dating back to the 13th century. The artisanal tradition, based on ancestral techniques, has remained alive over the centuries, although with the introduction of mechanical improvements and the emergence of modern innovations such as the electronic bagpipe.The Gaita Asturiana is not only a musical instrument; it is a complete cultural practice, as it has the following characteristics: it is closely linked to the identity of the Asturian people; it is used at festivals, pilgrimages, weddings and traditional events; it involves traditional knowledge, such as playing it, making it and teaching its use; and it is passed down through oral teaching and traditional music schools. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Asturian Bagpipe Manufacturing Type The nature or genre of the resource Intangible Description An account of the resource 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). Language A language of the resource Asturian Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 795 Source A related resource from which the described resource is derived asturiasmap,practices References A related resource that is referenced, cited, or otherwise pointed to by the described resource. 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. Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 19/12/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Fabricación de gaita asturiana Date Modified Date on which the resource was changed. 07/04/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context All of this intricate system—the high mountain livestock culture, the relationship between human beings and their natural environment expressed through culture—ultimately materializes in each and every wheel of cheese. Around the making of Gamoneu cheeses, a whole set of unique elements has taken shape over the decades and across generations: aging in natural caves, traditional architecture of the majadas, the social structures that developed within them, the shaping of the vegas (highland meadows), the coexistence of humans, domestic animals, and wild fauna, and even a distinct culinary tradition. Era também um alimento asociado a festividades importantes da comunidade: “En las bodas […] el postre era queso de Gamonéu […] cuñas de queso de Gamonéu. Field Worker Carmen Pérez Maestro Policy Threats Lack of conservation policy,Threatening regional planning policies Demographic Threats Rural-urban migration Weakened Practice Reduced practice Loss Threats Loss of cultural spaces SDG Zero Hunger,Good Health and Wellbeing,Clean Water and Sanitation,Affordable and Clean Energy,Life On Land External ID LAPONTE_CP_03 Knowledge Raising and grazing (of cows, goats, and sheep), milking, and the production of cheese itself Knowledge Transfer The entire process is a tradition passed down through families. Practitioners Currently, within the DOP (Protected Designation of Origin), there are 4 producers of queso del Puerto and 18 producers of queso del Valle. In the past, the entire family was involved in the process: the men (fathers, grandfathers, children) in the grazing and cheese-making, and the women (grandmothers, mothers, and girls) in the maintenance tasks and, to a lesser extent, in cheese production. Today, it is mainly couples, as young people study outside rural areas. Women have increasingly joined in the cheese-making process as well as its distribution and sale at markets. Regarding the decline in the number of shepherds, the Picos de Europa Shepherd School was created in 2004, reflecting the concerns voiced by shepherds from the Asturian municipalities within the National Park’s sphere of influence. Its core initiative has been an Introductory Course in Alpine Shepherding, designed to encourage a new generation to take up the profession. By showcasing the value of this role, the school seeks to reinvigorate the region, curb the pressing depopulation trend, stimulate the local economy, and help preserve the traditional landscape (Prieto, 2019). The coexistence of extensive livestock farming and large predators is one of the most important social conflicts now affecting this tradition. In this context, we highlight an initiative created by three biologists, Les Mastines, a solidarity project aimed at promoting practical solutions with an effective and positive impact both on livestock farming and on the local wildlife. It focuses on assisting through surveillance and protection of herds that are vulnerable to attacks by large predators. Function Traditional practices, such as livestock farming, which have long been known as short-distance transhumance, involve moving herds and shepherds every year from the valleys to the highlands in search of prized high mountain pastures for the livestock. This process also results in the production of artisanal cheeses, which are the livelihood of the families dedicated to this work. Associated with this tradition and aimed at tourists, there is a festival declared a 'tourist attraction' called 'The Shepherd's Day,' celebrated as a tribute to the shepherds of the Picos de Europa. It brings together people dedicated to this tradition and tourists Origins and change The management of high-altitude pastures in the Asturian mountains has been documented since the late prehistoric period (Polledo, 2024). Although no archaeological evidence specifically documenting the production of cheese (ceramic cheese-making vessels) has been found in this area, as has been documented in other locations since the Neolithic period, it is assumed that cheese was one of the products made by the high mountain shepherds. Since the 17th century, this cheese has served as a basic sustenance 'for the poor of the council,' as expressed in records from the 18th century. The name 'Gamonéu,' which seems to be recent, refers to two homonymous villages: Gamonéu de Cangas and Gamonéu de Onís. The most significant changes in land management, and consequently in the production of dairy products in this area, occurred in the early 20th century with the creation of the 'Picos de Europa National Park,' which intersected with the social history of shepherd-cheesemakers, breaking the integrity of the community management system and the way of life that was inseparable from it. The conservationist ideas of the landscape in the established national parks in Spain, in this case, made the shepherding community vulnerable by assuming official entities took over the management of the land. It is estimated that from the mid-1950s to 2018, the number of shepherds in the region decreased from 100 to 11 (Prieto, 2019). The main factors behind the decline in Gamonéu‑cheese production have been: wolf attacks; the shrinking of grazing land inside the National Park because controlled burning to renew pastures is now forbidden; the drop in goat and sheep numbers; and the lack of generational succession to keep the shepherd‑cheesemaker trade alive. In 2003 the Asturian regional government created the Gamonéu PDO (Protected Designation of Origin) to valorize and safeguard this cheese and to stimulate the area’s production sector—an initiative that has especially benefited the valle Organisations The Association of Artisan Cheesemakers of the Principality of Asturias is a non-profit, regionally based organization founded in 1991. There are eight producers of Gamoneu cheese who are members of this association. The Brotherhood of Friends of Gamoneu Cheese is made up of a group of friends who, without any profit motive, support, promote, and take pleasure in sharing everything related to the world of Gamoneu cheese. Places Gamoneu cheese is produced in two distinct zones: Gamoneu del Puertu, which preserves the ancestral cheesemaking tradition of the Picos de Europa region, and Gamoneu del Valle, which is made in small dairies located in the lower areas of the municipalities of Onís and Cangas de Onís. Gamoneu del Valle cheeses are smaller in size than those from the Puertu, but they are produced year-round. In autumn, the cheeses reach their optimal point of maturity, which is why producers attend fairs held in the capitals of their respective municipalities. Cangas de Onís celebrates the Feria del Pilar on October 12th, featuring the Exhibition and Contest of Picos de Europa Cheeses. In Benia de Onís, the Annual Gamoneu Cheese Festival takes place on the third Sunday of October. Artefacts "Arnios" or molds made of plastic or metal are used, although wooden ones are still in use as well. The "artesa" is a wooden piece designed to collect the whey released by the cheese. The "presugo" is a thin board that allows the cheese to be easily flipped. The "talameras" are shelves placed inside the cabin above the hearth or fire, where the heat and smoke slowly dry the cheeses. Policy Threats Description An overly conservationist policy applied to a territory whose landscape has been shaped by humans since prehistoric times Demographic Threats Description The sons and daughters of the families devoted to this tradition no longer wish to carry it on because of its harshness; they move away to study in the cities Weakened Practice Description The number of high‑mountain (‘puerto’) cheese producers has fallen because the area where they work was declared a national park and because of wolf predation. Loss Threats Description Again, this is largely due to strict environmental conservation policies State of the practice declining Social sustainability It contributes to community development, since this activity provides a livelihood for several families in a rural mountain area Environmental sustainability It contributes to sustainable environmental stewardship thanks to traditional livestock husbandry and the handcrafted cheese‑making process. Economic sustainability It is an economically sustainable activity for the families who practice it. Place The town or city Onís y Cangas de Onís, Asturias, Spain. Place Description Gamoneu cheese is traditionally made by seasonal transhumant shepherds on the maritime slope of the Picos de Europa, a region that currently forms part of the political territory of the autonomous community of the Principality of Asturias, specifically in the municipalities of Onís and Cangas de Onís. It is a high mountain landscape characterized not only by its steepness, but also by its majadas—places where pastures have traditionally been used for cows, goats, and sheep. These meadows or valleys have also been shaped by human activity through stone constructions used for livestock and shepherds during the summer season. This cheese holds great importance for the local community. Its production involves a mixture of three types of milk: goat, cow, and sheep. There are two varieties: Gamoneu del Valle and Gamoneu del Puerto. The different types of milk used in the production of Gamoneu del Puerto come from herds that graze in the vegas or majadas of the northwestern areas of the Picos de Europa National Park. The livestock feeds exclusively by grazing in the highest mountain pastures of these territories. To produce Gamoneu del Puerto cheese, at least two types of milk from the three—cow, sheep, and goat—must be mixed, with a minimum of 10% being sheep and/or goat milk. The production of Gamoneu del Puerto is seasonal due to the weather conditions and the difficulty of grazing in winter, so its production is limited to the spring and summer months. For this reason, the production volume of this variety is lower compared to Gamoneu del Valle. This variety, like Gamoneu del Puerto, is made following the eight essential steps for Gamoneu cheese production: mixing the milk, letting it rest and curdle to form a solid mass, cutting and draining the whey, molding, salting, slow drying and smoking, and finally aging in a cave, where the cheeses mature for a month and acquire their final flavor thanks to the action of fungi and yeasts. Another difference from Gamoneu del Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gamoneu Cheese Type The nature or genre of the resource Intangible Description An account of the resource 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 Language A language of the resource Asturian,Spanish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 790 Source A related resource from which the described resource is derived asturiasmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. 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. Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 18/12/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Queso Gamoneu Spatial Coverage Spatial characteristics of the resource. current,43.314444,-5.066667; Creator An entity primarily responsible for making the resource 2057,2054 Date Modified Date on which the resource was changed. 19/12/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context The knife-making tradition of Taramundi is embedded in a broader cultural framework that includes complementary crafts, social practices, and oral traditions. Historically, the craft developed alongside blacksmithing and metalwork (UNIOVI_CP_04), as rural households produced agricultural tools, horseshoes, and hardware essential for farming. These activities share technical knowledge and workshop spaces, forming an integrated artisanal economy. Woodworking is another closely related practice. The production of knife handles relies on skills traditionally used in carpentry and decorative woodcraft, which remain significant in the region. Techniques such as carving and pyrography link knife-making to a wider repertoire of decorative arts, reinforcing aesthetic continuity across different objects. The craft also intersects with oral traditions, particularly narratives about family workshops, local inventiveness, and the symbolic value of handmade knives. These stories circulate within the community and are often shared during fairs and demonstrations, contributing to the transmission of intangible heritage. Social practices such as craft fairs and rural festivals provide spaces where knife-making interacts with gastronomy, music, and other artisanal displays. These events create a cultural ecosystem that situates the craft within collective celebrations of identity and heritage. Finally, contemporary initiatives connect knife-making with heritage tourism and educational programmes, integrating it into thematic routes that include traditional architecture, textile crafts, and culinary experiences. This network of related practices underscores the multifunctional role of Taramundi’s artisanal heritage, where technical skills, symbolic meanings, and social rituals converge. Field Worker Pérez Fernández, Lucía Rodríguez Pérez, Santiago Climate Threats Deforestation,Mining,Deterioration of material,Deterioration of space Economic Threats Insufficient financial resources,Insufficient renumeration,Rapid economic transformation,Poor transport connections Technological Threats Industrial production,Surge of new technologies,Use of modern materials Policy Threats Lack of conservation policy,Deficient policy implementation,Threatening regional planning policies,Inadequate management plans Conflicts Human encroachment on boundaries Demographic Threats Rural-urban migration,Degraded habitat Decontextualization Touristification,Overcommercialisation Globalisation New pastimes,Rapid sociocultural change Weakened Practice Aged practitioners,Diminishing youth interest,Halted transmission between generations,Reduced practice Loss Threats Material shortage,Loss of cultural significance,Loss of protective status Climate Actions Community Engagement,Educational programs,Collaboration with other organisations ,Governance management and green policies SDG Quality Education,Decent Work and Economic Growth,Sustainable Cities and Communities,Responsible Consumption and Production,Climate Action,Peace Justice and Strong Institutions,Partnerships for the Goals External ID UNIOVI_CP_03 Knowledge Knife-making in Taramundi is a craft that combines technical precision with cultural understanding. At its foundation, artisans need metallurgical expertise: the ability to forge, temper, and sharpen steel so that the blade achieves the right balance between hardness and flexibility. This requires not only manual skill but also an intuitive sense of temperature control and material behaviour. Equally essential is woodworking knowledge, as handles are traditionally carved from local hardwoods such as boxwood. Crafting a handle involves selecting and preparing the wood, shaping it for comfort and durability, and often adding decorative details that reflect regional aesthetics. The practice also demands familiarity with traditional tools and processes, including forges, anvils, and hydraulic hammers historically powered by water. While modern equipment is now common, artisans maintain techniques passed down through generations, ensuring continuity with the past. Beyond technical ability, knife-making calls for design awareness and cultural sensitivity. Each piece must meet functional needs while embodying the identity of Taramundi’s craft tradition. This includes understanding historical forms and adapting them to contemporary markets without losing authenticity. Finally, in today’s context, artisans often develop entrepreneurial skills, engaging with tourism and global distribution. This blend of technical mastery and adaptive knowledge sustains the craft as both a cultural heritage and an economic resource Knowledge Transfer Today, the transmission of knife-making knowledge in Taramundi occurs through a combination of family-based apprenticeship, formal training initiatives, and cultural tourism programmes. Traditionally, skills were passed down within households, where younger generations learned by observing and assisting experienced artisans. This model persists, ensuring continuity of techniques and values, although it now coexists with more institutionalised forms of learning. Several local workshops and craft cooperatives offer structured courses for aspiring artisans and enthusiasts. These programs often include practical demonstrations and hands-on sessions, allowing participants to engage directly with forging, tempering, and handle-making processes. Museums and interpretation centres in Taramundi also play a key role, presenting the historical evolution of the craft and organising educational activities aimed at preserving intangible heritage. Transmission is not limited to physical spaces. Digital platforms and social media have become complementary tools, enabling artisans to share tutorials, showcase techniques, and connect with global audiences. This online presence broadens access to knowledge while reinforcing the cultural significance of the practice. The timing of transmission is continuous but often intensifies during festivals and craft fairs, where artisans demonstrate their skills publicly. These events serve as both educational and promotional spaces, fostering intergenerational dialogue and community engagement. Practitioners The primary bearers of the Taramundi knife-making tradition are local artisans, many of whom belong to families with a long history in the craft. These practitioners often operate small workshops where production combines traditional techniques with the selective modernisation of some processes. Their role is not only technical but also cultural, as they safeguard the authenticity of the craft and transmit its values to future generations. Historically, knife-making was a male-dominated activity, reflecting the gendered division of labour in rural Asturias. Men typically handled forging and assembly, while women contributed to complementary tasks such as preparing wooden handles or managing household economies linked to craft production. Although this division persists in some cases, contemporary practice shows greater flexibility, with women increasingly involved in both technical and managerial aspects of the trade. Within the community, certain individuals assume special responsibilities as cultural mediators. Master artisans, often widely recognised for their expertise and reputation, play a key role in teaching apprentices and maintaining quality standards. They also participate in public demonstrations, fairs, and educational programs, reinforcing the visibility of the craft beyond local boundaries. Additionally, institutional actors (such as museums, craft cooperatives, and tourism initiatives) support transmission and promotion, but the core responsibility remains with the artisans themselves. Their work embodies both material skill and intangible heritage, positioning them as custodians of a tradition that continues to adapt while preserving its cultural essence. Function Today, Taramundi knife-making serves as both an economic resource and a cultural emblem for the local community. Its primary social function lies in sustaining rural livelihoods through artisanal production and tourism. Workshops and craft stores attract visitors seeking authentic handmade goods, creating employment and reinforcing the viability of small-scale economies in an area historically marked by depopulation. Culturally, the practice operates as a symbol of identity and continuity. Knives are not merely utilitarian objects, as they embody values of craftsmanship, resilience, and adaptation to environmental constraints. For residents, the tradition affirms a sense of belonging and pride in local heritage, while for outsiders it represents an image of authenticity associated with Asturias’ rural culture. The craft also fosters intergenerational dialogue, as older artisans transmit knowledge to younger practitioners and to visitors through demonstrations and educational programmes. This interaction strengthens community cohesion and positions the practice as a living heritage. In contemporary discourse, Taramundi knives have acquired a broader meaning as markers of sustainable production and cultural tourism. They exemplify how traditional skills can coexist with modern market dynamics, offering a narrative of heritage preservation aligned with economic innovation. Origins and change The origins of knife-making in Taramundi date back to at least the eighteenth century, when rural households began to complement subsistence farming with small-scale metalworking. Historical records indicate that the availability of iron ore and abundant water streams enabled the installation of hydraulic hammers and forges, creating the technological basis for the craft. Initially, production was highly localised and oriented toward practical needs: knives and cutting tools for domestic and agricultural use. Over time, the practice evolved in response to social and economic changes. During the nineteenth century, Taramundi artisans consolidated their reputation for quality, expanding distribution to regional markets. The craft remained family-based, with transmission occurring through apprenticeship within the household. Gender roles were clearly defined: men managed forging and assembly, while women contributed to auxiliary tasks and trade. The twentieth century brought significant transformations. Industrialisation in Asturias bypassed Taramundi, but modernization affected the craft through the introduction of new materials such as stainless steel and mechanized tools. These changes improved efficiency without erasing traditional techniques, which continued to define the identity of the product. In recent decades, the function of knife-making has shifted from purely utilitarian to symbolic and economic. The rise of cultural tourism and heritage valorisation positioned Taramundi knives as artisanal goods associated with authenticity and sustainability. Transmission now occurs not only within families but also through workshops, museums, and digital platforms, reflecting a hybrid model that combines tradition with institutional and global outreach. Thus, the practice illustrates a dynamic trajectory: from a rural survival strategy to a heritage-based economic resource, adapting to technological, social, and cultural transformations while preserving its core art Organisations The knife-making tradition of Taramundi is supported by a diverse network of organisations that combine heritage preservation, economic development, and cultural promotion. At the local level, family-run workshops and artisan cooperatives remain the backbone of the craft, ensuring continuity of production and knowledge transmission. These entities often collaborate with tourism initiatives and participate in fairs to showcase their work. Among public institutions, the Municipality of Taramundi actively promotes the craft as part of its rural development strategy, while the Principality of Asturias includes knife-making in programmes for safeguarding intangible cultural heritage. These bodies provide logistical and financial support for events, training, and infrastructure as much as they can. A key cultural institution is the Museo de la Cuchillería de Taramundi, which preserves historical artefacts, documents the evolution of techniques, and offers live demonstrations in its museum-workshop. This space functions as an educational hub, reinforcing the craft’s visibility and cultural significance. In addition, craft cooperatives and artisan associations facilitate collective marketing and quality control. Historically, Taramundi artisans were also linked to a nation-wide association of traditional blacksmiths, an organisation that promoted traditional metalworking and included knife-makers among its members. For several years, this association was directed by a master blacksmith from Santalla d’Ozcos, highlighting the area’s leadership in the field. Places The practice of knife-making in Taramundi is closely linked to a network of spaces that combine production, heritage interpretation, and tourism. Artisan workshops remain the primary sites where the craft is actively performed. These small-scale facilities, often family-run, are scattered throughout the municipality and serve as both workplaces and points of sale, allowing visitors to observe traditional techniques in real time. A key institutional space is the Museo de la Cuchillería de Taramundi, which plays a central role in safeguarding and promoting the craft. The museum houses a collection of historical pieces and tools, illustrating the evolution of knife-making from its origins to the present. It also includes a musealised traditional workshop. This setting functions as an educational platform, reinforcing the transmission of knowledge and raising awareness of the craft’s cultural significance. In addition to the museum, interpretation centres and craft cooperatives contribute to the visibility of the practice, organising exhibitions, training sessions, and thematic routes that integrate knife-making into broader narratives of rural heritage. Public spaces such as local fairs and festivals also serve as venues for showcasing the craft, strengthening its social and economic role within the community. Artefacts The tradition encompasses a rich material culture that includes both the produced objects and the tools and machinery required for their fabrication. The most iconic products are folding knives (navajas/navayas) and fixed-blade knives, distinguished by their steel blades and wooden handles, often crafted from local hardwoods. Handles may feature decorative carvings, pyrography, or metal inlays, adding aesthetic value to functional objects. In addition to knives, artisans produce scissors, small axes, and specialised cutting tools, reflecting the craft’s historical link to domestic and agricultural needs. The production process relies on a set of traditional tools that remain central despite technological modernisation. These include forges and anvils for shaping steel, tongs and hammers for manual manipulation, and grinding wheels for sharpening and finishing blades. Historically, workshops employed hydraulic hammers powered by water mills, a distinctive feature of Taramundi’s technological heritage that enabled efficient forging in a rural setting. Today, electric hammers and mechanized grinders complement these traditional implements, but manual techniques continue to define the craft’s authenticity. Woodworking requires its own set of artefacts: carving knives, chisels, and lathes for shaping and smoothing handles, as well as clamps and templates to ensure precision. Decorative work may involve burning tools for pyrography or fine chisels for engraving. Some more advanced workshops use laser engravers. Finally, auxiliary artefacts such as branding stamps (used to imprint the maker’s mark) play a symbolic role, guaranteeing origin and quality. Climate Threats Description The tradition faces several environmental challenges that affect its sustainability. Deterioration of material refers to the increasing difficulty of sourcing high-quality steel and suitable hardwoods for handles, which raises production costs and limits artisanal standards. Deterioration of space is linked to rural depopulation and the abandonment of traditional workshops, reducing the physical infrastructure necessary for transmission and practice. While deforestation is not occurring in the form of large-scale forest loss, a significant risk lies in the replacement of native hardwood species (such as boxwood) with fast-growing invasive species. These alternatives do not provide the same quality for knife handles, compromising both durability and aesthetic value. This ecological shift directly impacts the material culture of the craft. Finally, mining, although less active today, historically altered landscapes and water systems. Any resurgence of extractive activities could further degrade the environment and affect resources essential for artisanal production. These factors highlight the need for proactive measures to ensure resource management, maintain traditional species, and preserve the spaces where the craft is practiced. Economic Threats Description Knife-making in Taramundi faces economic vulnerabilities. Insufficient financial resources and low remuneration make it difficult for artisans to sustain production and invest in modern equipment without compromising traditional methods. Rapid economic transformation, including the shift toward service-based economies and tourism, creates uncertainty for crafts that rely on niche markets. Additionally, poor transport connections in rural Asturias limit distribution and access to broader markets, reducing competitiveness compared to industrial producers. Technological Threats Description The knife-making tradition of Taramundi faces technological pressures that challenge its artisanal character. Industrial production introduces mass-produced knives at lower prices, reducing the competitiveness of handcrafted pieces and shifting consumer preferences toward standardized products. The surge of new technologies, including automated forging and digital design, risks eroding traditional skills if artisans adopt mechanization excessively or if younger generations perceive manual techniques as obsolete. Similarly, the use of modern materials, such as plastics or synthetic composites for handles, threatens the integrity of the craft by replacing native hardwoods and altering the aesthetic and functional qualities that define Taramundi knives. These factors collectively create tension between innovation and heritage, requiring strategies that balance adaptation with authenticity. Policy Threats Description It lacks a robust conservation policy at national or regional levels, and existing measures often suffer from deficient implementation. Regional planning policies that prioritise urban development or large-scale infrastructure can indirectly threaten rural heritage spaces. Furthermore, inadequate management plans for cultural tourism and craft promotion risk overcommercialisation or neglect, leaving artisans without clear frameworks for sustainable growth. Conflicts Description Knife-making in Taramundi is not exposed to war or political intolerance. However, human encroachment on boundaries can indirectly impact the craft. This refers to changes in land use and rural transformation, such as urban expansion or infrastructure projects that alter traditional spaces and disrupt the ecological balance needed for raw materials (e.g., hardwood species for handles). While the risk is moderate compared to other threats, it underscores the vulnerability of artisanal practices to broader territorial and environmental pressures. Demographic Threats Description Taramundi faces rural-urban migration, which accelerates depopulation and reduces the pool of potential artisans. This demographic shift weakens intergenerational transmission and limits the viability of workshops. Degraded habitat, linked to changes in land use and forestry practices, affects access to traditional materials such as native hardwoods, indirectly impacting production quality. Decontextualization Description The knife-making tradition of Taramundi faces risks linked to cultural decontextualisation. Touristification can lead to prioritising quick demonstrations for visitors over authentic production processes, reducing the depth of artisanal knowledge. Overcommercialisation threatens the integrity of the practice by encouraging mass production or simplified designs to meet market demand, compromising quality and heritage values. Globalisation Description Globalisation introduces rapid socio-cultural changes that alter consumption patterns and values, reducing interest in traditional crafts among younger generations. The rise of new pastimes and digital entertainment competes with artisanal learning, making knife-making less attractive as a career or hobby. Weakened Practice Description The knife-making tradition of Taramundi faces demographic and social challenges that weaken its continuity. Many current practitioners are aged artisans, and the number of active workshops has declined over recent decades. This situation is compounded by diminishing youth interest, as younger generations often seek employment outside rural areas or in sectors perceived as more profitable and modern. Consequently, transmission between generations is increasingly interrupted, reducing opportunities for experiential learning and apprenticeship. These factors lead to a reduction in practice, limiting production capacity and the visibility of the craft. While some artisans show willingness to adapt through innovation and tourism, the overall trend reflects a fragile balance between heritage preservation and generational renewal. Loss Threats Description The craft risks loss of knowledge due to declining transmission and aging practitioners. Material shortages, especially of high-quality steel and native hardwoods, compromise production standards. Over time, the practice may suffer loss of cultural significance, becoming perceived as a tourist attraction rather than a living tradition. Finally, the loss of productive status (as artisanal work becomes economically marginal) threatens its sustainability. Safeguarding activities Several initiatives have been implemented to protect and promote Taramundi’s knife-making tradition. These include the creation of artisan cooperatives that support collective marketing and quality standards, and the establishment of training programs and workshops aimed at transmitting skills to younger generations and craft enthusiasts. Cultural tourism strategies have integrated knife-making into heritage routes and fairs, increasing visibility and economic viability. Additionally, the Museo de la Cuchillería plays a key role in safeguarding knowledge through exhibitions and live demonstrations, ensuring that the craft remains accessible and valued as part of Asturias’ intangible heritage. The mayor of Taramundi also told the UNIOVI team in a meeting that for years they have had a centre available in the town with workspaces that artisans can rent, but many other external factors (such as the price of housing or the lack of public services in the area) cause that the few people who settle there with that plan do not stay for long. State of the practice declining Social sustainability This craft contributes significantly to social sustainability through multiple dimensions. First, it strengthens community development and social cohesion, as the practice is deeply rooted in family workshops and local networks that share knowledge and collaborate in production and marketing. This fosters intergenerational solidarity, with skills transmitted from parents to children and increasingly through training programs and craft schools, ensuring quality education linked to cultural heritage. Regarding gender equality and inclusivity, although traditionally a male-dominated activity, recent decades have seen growing participation of women in design, management, and sales roles, promoting equal opportunities. There are also some female artisans, although it remains a predominantly male activity. The integration of knife-making into cultural tourism and local entrepreneurship also creates jobs and helps prevent rural depopulation, supporting community resilience. The craft reinforces social cohesion by nurturing a strong sense of identity and pride in local traditions, which reduces social fragmentation and strengthens belonging. Additionally, its connection to sustainable tourism and cultural initiatives positions knife-making as a driver of rural vitality, ensuring that communities remain active and socially balanced. Environmental sustainability The knife-making tradition in Taramundi shows a moderate but growing commitment to environmental sustainability. One of its main contributions lies in the use of locally sourced materials: artisans often work with regional woods for handles and rely on nearby suppliers for steel, reducing transportation-related emissions and supporting short supply chains. This local approach not only minimises the carbon footprint but also strengthens the link between craft and territory. In terms of waste management, the production process is relatively low-impact, as workshops operate on a small scale and reuse materials whenever possible. Metal scraps and wood offcuts are often repurposed or recycled, and the absence of mass production limits industrial waste. Energy consumption remains modest, with many artisans using traditional manual techniques combined with small electric tools, which are more efficient than large-scale machinery. Pollution prevention is inherent to the craft’s artisanal nature: chemical treatments are minimal, and finishes tend to favor natural oils or varnishes. However, challenges persist regarding the sourcing of steel, which depends on external industrial processes. Recent initiatives, such as promoting eco-design and integrating renewable energy in workshops, indicate a growing awareness of sustainability, ensuring that this heritage adapts responsibly to contemporary environmental concerns. Economic sustainability Taramundi’s knife-making tradition supports economic sustainability by linking heritage to diversified income streams. Artisans sell directly in local workshops, at craft fairs, and increasingly through digital platforms, which broadens market access and reduces dependence on seasonal tourism. This adaptability strengthens resilience in a rural economy. The craft also generates complementary activities (such as guided visits, demonstrations, and museum exhibitions) creating synergies with hospitality and gastronomy. These connections help distribute income across the community and prevent rural depopulation. Place The town or city Municipality of Taramundi and other villages, such as Abraído, Aguillón, Bres, Cabaniñas, Esquíos, Llan, Loutima, Mousende, Nogueira, Río del Louro, Vega de Llan, Santa Eulalia de Oscos and Vilanova. Place Description Asturias, located in the north of Spain along the Cantabrian coast, is a region characterised by its rugged mountainous terrain, abundant rainfalls all year round, and lush vegetation. Its geography is dominated by the Cantabrian Mountains, which historically shaped settlement patterns and economic activities. The region’s natural environment fostered a mixed economy based on agriculture, livestock, and artisanal production, complemented by mining and, later, industrial development in coastal areas. Asturias has long maintained a strong cultural identity rooted in rural traditions, communal practices, and a distinctive linguistic heritage, including Asturian (bable) and Eo-naviego (a western variant deeply influenced by Galician). Within this broader context, Taramundi occupies a unique position in the westernmost part of Asturias, near the border with Galicia. It is a small, mountainous municipality characterised by steep valleys, dense forests, and a network of rivers that historically provided energy for hydraulic systems. These natural resources were crucial for the development of local crafts, particularly metalworking. The isolation of Taramundi, combined with its access to iron ore and waterpower, enabled the emergence of a specialized economy centred on blacksmithing and knife-making from at least the eighteenth century. This artisanal tradition coexisted with subsistence farming, creating a distinctive socio-economic structure where households combined agricultural labour with craft production. Socially, Taramundi was organised around extended family units and small hamlets, fostering strong kinship ties and cooperative labour systems. Cultural practices reflected this rural organisation, with seasonal rhythms and communal festivities reinforcing local identity. The craft of knife-making became not only an economic activity but also a cultural marker, symbolizing skill, resilience, and adaptation to environmental constraints. Over time, these practices co Prim Media 1965 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Taramundi traditional knifemaking Type The nature or genre of the resource Intangible Description An account of the resource 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 Language A language of the resource Asturian,Spanish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 776 Source A related resource from which the described resource is derived asturiasmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. 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 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 01/12/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Cuchillería o navajas (navayas) de Taramundi Spatial Coverage Spatial characteristics of the resource. current,43.3603936,-7.1083458; Date Modified Date on which the resource was changed. 02/12/2025 Creator An entity primarily responsible for making the resource 2004 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 1921 Natural Cultural Cultural Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource One-Eyed Dog Container Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 759 Source A related resource from which the described resource is derived craftedobjects,timespanrural Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 04/11/2025 Date Modified Date on which the resource was changed. 17/03/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 1914 Natural Cultural Cultural Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Two Deer White Bowl with Legs Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 756 Source A related resource from which the described resource is derived craftedobjects,timespanrural Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 04/11/2025 Date Modified Date on which the resource was changed. 17/05/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 1912 Natural Cultural Cultural Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wren Identifier An unambiguous reference to the resource within a given context 755 Source A related resource from which the described resource is derived craftedobjects,timespanrural Type The nature or genre of the resource Physical Object Date Modified Date on which the resource was changed. 17/03/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 1910 Natural Cultural Cultural Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Brown Mouse Identifier An unambiguous reference to the resource within a given context 754 Source A related resource from which the described resource is derived craftedobjects,timespanrural Type The nature or genre of the resource Physical Object Date Modified Date on which the resource was changed. 17/03/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 1906 Natural Cultural Cultural Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ard Beag Ceramic Large Bowl Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 752 Source A related resource from which the described resource is derived craftedobjects,timespanrural Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 04/11/2025 Date Modified Date on which the resource was changed. 17/05/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context Molelos black clay is linked to local cuisine, where some recipes are prepared in black clay pots, giving them a unique flavour. Economic Threats Insufficient renumeration Technological Threats Industrial production Demographic Threats Rural-urban migration Decontextualization Touristification Climate Actions Research,Community Engagement,Collaboration with other organisations SDG Good Health and Wellbeing,Decent Work and Economic Growth,Industry Innovation and Infrastructure External ID UAVEIRO_CP_02 Knowledge Preparation of pastes (mixture of “weak” and “strong” clays), wheel throwing, polishing with pebbles, controlled drying and reduction firing ("soenga"; wood/gas kilns). Knowledge Transfer Intergenerational transmission through family lines (e.g. grandfather → uncle → António Marques) and practical learning in workshops; annual demonstration of soenga reinforces the continuity of know-how. Practitioners Potters and craftspeople from Molelos; today, men and women share specialised tasks. Function Supply of cooking and tableware, decorative objects and affirmation of the territory's identity; heritage and tourism promotion (public demonstrations of soenga). Origins and change Attested since the 16th century; between the 19th and 20th centuries, it was one of the largest national centres. In the 20th century, wood-fired kilns appeared, followed by gas-fired kilns; partial mechanisation of clay preparation; maintenance of the pottery workshop in a demonstration context. Organisations Tondela City Council Places Workshops and kilns in various locations within the parish (Raposeiras, Machorro, Vela); Tondela Municipal Museum (black pottery room). Artefacts Utility items; decorative objects. Economic Threats Description Limited profitability, ageing workforce and industrial competition. Technological Threats Description The introduction of gas kilns and modern techniques may alter the traditional character of reduction firing. Demographic Threats Description The migration of young people to urban centres in search of employment and education has contributed to the depopulation of rural areas in Tondela and the decline of craft activities. Many descendants of potters did not remain in Molelos, which interrupted the family succession in the workshops. This migration reduces the number of potential apprentices and threatens the continuity of local craft production, which depends on constant presence in the community and direct access to raw materials. Safeguarding activities Transmission occurs through demonstrations, workshops and sharing between generations. State of the practice declining Social sustainability Black clay pottery contributes to social sustainability by strengthening local identity and a sense of belonging to the Molelos community. The practice involves families and different generations, promoting social cohesion and the appreciation of traditional knowledge. The participation of women in polishing and finishing the pieces reinforces gender equality and the recognition of complementary roles. Public demonstrations of the ‘soenga’ encourage intergenerational dialogue and heritage education. Environmental sustainability The practice upholds principles of environmental sustainability, using natural and local raw materials (clay extracted in the region and wood from controlled sources). The reuse of clay scraps and firing in traditional kilns are examples of a circular economy. Despite environmental restrictions on firing, potters have adapted their processes — combining gas kilns and occasional soengas — to reduce emissions and preserve the heritage character of black clay. Economic sustainability Molelos pottery contributes to the economic sustainability of the region, ensuring craftsmanship and promoting products with local identity and added value. The certification of Louça Preta de Molelos (2020) has opened up new market opportunities and increased the value of this craft product. Collaboration with designers and cultural institutions allows for diversification of income sources and increased visibility for the sector, although the economic balance remains fragile in the face of industrial production. Place The town or city Molelos, Tondela, Portugal Place Description A black clay potter in Molelos (Tondela), António Manuel Matos Marques began his career at the age of 14, learning from his uncle (who in turn had learned from his grandfather). He has more than four decades of continuous practice, producing mainly utilitarian and decorative pieces on a potter's wheel, with a traditional burnished finish. He continues to fire his pieces in a reducing environment (wood-fired kiln) and values the transmission of know-how — he even taught a colleague when he was 19. In the workshop, the polishing stage is often carried out by local craftswomen (e.g. Lurdes Coimbra). Among his current pieces are jugs (c. 20 minutes/unit), baking trays and tableware, preserving the formal grammar of the Molelos pottery centre. Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Black_Clay_Pottery_of_Molelos Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Clay Pottery of Molelos Type The nature or genre of the resource Intangible Description An account of the resource 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. Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 732 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. 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 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 27/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Barro Preto de Molelos; Olaria de Molelos Spatial Coverage Spatial characteristics of the resource. current,40.530278,-8.095556; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context Related practices include metalworking/blacksmithing; agricultural grain handling and volumetric measuring (e.g., the corredor); a strong repair–reuse culture (tool upkeep, patching/retinning, recycling offcuts); oral transmission/apprenticeship with workshop jargon and templates; community/market work (fairs, seasonal gutter maintenance); and heritage/tourism through restoration and public demos/workshops. Economic Threats Insufficient renumeration,Rapid economic transformation Weakened Practice Diminishing participation,Diminishing youth interest,Halted transmission between generations,Reduced practice SDG Quality Education,Decent Work and Economic Growth External ID UAVEIRO_CP_01 Knowledge Cutting, shaping, riveting/welding; marking out and reading measurements; volume calibration (measuring sticks). Technical drawing & layout: reading/sketching simple plans; sheet-metal geometry (developments for cones/prisms); marking out with rule, dividers/compass, and scriber. Measuring & calibration: accurate use of rulers, gauges and templates; volumetric calibration for grain measures (e.g., the corredor). Cutting & edge prep: straight/curved cuts with hand snips and bench shears; deburring and safe edge treatment. Forming & shaping: hand forming over stakes/anvils; bending/folding, rolling beads (“canelinhos”) on a beading machine; setting angles with wooden mallet. Joining methods: locked seams, lap seams, riveting, and tin soldering (flux control, heat management, “tirar o lume”/clean-up). Finishing & QA: truing (“rigor”), leak and watertightness tests for gutters/containers; functional fit on site. Material knowledge: properties of zinc/galvanised sheet (thicknesses, work-hardening, corrosion behavior), compatible solders and fasteners. Tool care & safety: maintenance of snips, stakes, soldering irons/torches; safe handling of heat, sharp edges, and fumes. Contextual knowledge: local building uses (gutters/downpipes), agricultural uses (grain measuring), and repair practices. Knowledge Transfer Practical and oral learning, usually in family workshops. Practitioners Tinsmiths/blacksmiths; apprenticeship in workshop. Function Production of everyday utensils and containers; preservation of traditional know-how. Origins and change Tinsmithing is a pre-industrial craft involving the cold working of sheet metal to make and repair domestic, agricultural, and construction utensils. In Portugal, it became established with tinplate and later with galvanized sheet (zinc). Until the mid-20th century it played a central role (gutters, watering cans, funnels, containers), but industrialization and plastics reduced demand, shifting the craft to niches (repairs, custom orders, heritage). Tools have modernized without losing the core know-how, and transmission moved from the master–apprentice model to mixed formats; today the craft focuses on maintaining built heritage, producing durable and custom pieces, and the cultural/touristic valorization of traditional knowledge. Organisations Museu Terras de Besteiros (Lands of Crossbowmen Museum), the University of Aveiro, Places The practice is in decline in the region, with few tinsmiths still working. It is a profession that is no longer passed on to younger people, as it once was. Artefacts Hand snips and bench shears; folding brake; stakes/anvils and bick; wooden and steel mallets; hammers; punches and rivet sets; seamers/groovers. Beading machine (“caneleira”/“máquina de carrete”) for rolling stiffening beads. Soldering iron or blowtorch, flux/appliances; clamps and simple jigs. Measuring/marking tools: steel rule, dividers/compass, protractor/angle blocks, scriber, templates. Domestic/agricultural: funnels, watering cans, buckets, oil cans, storage containers. Measuring device: corredor — grain-measuring vessel (volume-calibrated). Weakened Practice Description The practice is in decline: there are fewer active practitioners due to competition from industrial products and lower demand for repairs; young people's interest is reduced by the perception of low returns and the lack of training courses; the intergenerational transmission that previously took place in family workshops has been interrupted; and daily activity has been restricted to niche areas (restoration, specific orders). Together, these factors — a market dominated by plastic/mass production, an unattractive economy, the closure of workshops and a lack of training — are squeezing the viability of the craft and accelerating the loss of skills. Safeguarding activities No measures have been taken. State of the practice endangered Social sustainability The practice is in sharp decline: there are few practitioners left (mostly elderly), young people's interest is low, intergenerational transmission has been broken, workshops have closed, and the market has been replaced by industrial/plastic products. Demand is sporadic (restoration/orders), making economic continuity unviable and putting the know-how at risk of disappearing within a generation without urgent safeguarding measures. Environmental sustainability Metalworking contributes to environmental sustainability by extending the useful life of utensils through repair and custom-made parts, avoiding replacements and waste; it uses zinc/galvanised steel, a durable and 100% recyclable material, and reuses scrap metal in the workshop itself. Production is local and small-scale, reducing logistics/transport footprint, and the process is low energy consumption (cold work, heat only during welding). Economic sustainability Even in decline, bodywork can contribute to local economic sustainability by: generating repair work and custom-made parts. Place The town or city Lobão da Beira - Tondela, Portugal Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Handcrafted sheet metal work (working with zinc sheets). Type The nature or genre of the resource Intangible Description An account of the resource 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. Language A language of the resource Portuguese Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 731 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://old.cm-tondela.pt/index.php/servicos/museu-terra-de-besteiros/investigacao/funilaria http://programasaberfazer.gov.pt/arte/latoaria Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 27/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Funilaria, latoaria Spatial Coverage Spatial characteristics of the resource. current,40.521326,-8.032804; Creator An entity primarily responsible for making the resource 918 Date Modified Date on which the resource was changed. 28/10/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 1768 Context Oral traditions for learning the crafts, certain woven bands for male/female/different families, for childrens crib (Komse), Field Worker Robertsen, Kjersti Climate Threats Deterioration of material Technological Threats Industrial production,Surge of new technologies,Use of modern materials Decontextualization Touristification,Misappropriation Weakened Practice Aged practitioners,Diminishing participation,Diminishing youth interest,Halted transmission between generations,Reduced practice Loss Threats Loss of ancestral language,Loss of cultural spaces,Loss of knowledge SDG Decent Work and Economic Growth External ID MN_CP_11 Knowledge how to make the warp, how to put the threads through the rigid heddle loom for the wanted pattern. How to do regular weaving, and how to "pick" different patterns. Knowledge Transfer Between people, courses/classes, duodji societies/clubs Practitioners Probably mainly women, but some men also do it. Function Traditional bands made for use on the gákti/ Sámi traditional dress, as well as other purposes. Origins and change The technique is very old. The production of the heddles/looms/njiskun themselves have been modernized and mass produced. Organisations Local Sámi Duodjilag (Sámi handicrafts clubs), Duodjeinstituhtta, Sámij åhpadusguovdásj/Samernas utbildningscentrum in Jokkmokk (Sweden) Places In this area: Várdobáiki samiske senter, Stuornjargga samiid duodji Artefacts Gákti/traditional Sámi clothes and childrens crib (Komse), but also used for other cultures, including the bunad traditions in Norway. Climate Threats Description If the practitioner cannot get a hold of material, they cannot do the cultural practice Technological Threats Description Use of industrial production, new technologies and modern (for example Synthethic materials) can make the products cheaper and more popular, and might contribute to threathening the cultural practice if there are less and less buyers of the products/users of the products made by the cultural practice Decontextualization Description Touristification and misappropriation of woven objects can contribute to less use of the cultural practice if users/buyers of the products do no longer want to use the traditionally made products instead of the "fake" products. Weakened Practice Description If less and less people are interested to learn the practice, and less people are interested in using the products, the practice might disappear. If the transmission between generations stops and the aged practitioners disappear, it will be much harder continuing keeping the cultural practice alive. Loss Threats Description Words and terms explaining how to weave, and also the parts of the loom/parts of the yarn, techniques etc. disappear, and a lot of knowledge can disappear with them, as some of the Sámi terms might be more descriptive and explaining than the Norwegian or English ones. Safeguarding activities Duodjeinstituhtta have practitioners who hold workshops and courses in different areas where there are interested participants. Different Sámi duodjilag (handicrafts clubs) also do courses. State of the practice declining Social sustainability Inclusivity - anyone can learn the cultural practice. Environmental sustainability Use of natural materials, mainly wool and cotton. Economic sustainability Diversifying income sources - practitioners can make and sell products while still managing to work normally. Place The town or city Ramavuolle, Reinåsen, Tjeldsund, Troms, Norway Place Description Markasámi village Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Weaving bands with njiskun/ rigid heddle Type The nature or genre of the resource Intangible Description An account of the resource 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. Language A language of the resource Norwegian,Sami Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 722 Source A related resource from which the described resource is derived lofotenmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Duodjeinstituhtta Várdobáiki samisk senter Stuornjargga Samiid Duodji Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Båndveving med njuskun/grindvev Spatial Coverage Spatial characteristics of the resource. current,68.58500463557306,16.70555667334062; Date Modified Date on which the resource was changed. 13/10/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 1766 Context Beekeeping is related, for example, to the traditional use of home remedies to treat stings. The most commonly used consist of applying or rubbing the sting area with different substances or plants: sweat from the armpits or testicles; smegma; mud or soil; dung; honey; garlic; parsley; houseleeks (Sempervivum montanum); "millo de rey" (an unknown plant); llantaine (Plantago media), and fern root. Other less widespread remedies included placing a silver coin (Taladriz, Ibias municipality) or sheep dung (Teyeo, Lena municipality). To relieve the pain of stings, infusions of a/triaca (Tanacetum vulgare) were also taken, especially in eastern Asturias. This practice also has a cultural connection with language. Abeyeiro and abeyista are Asturian terms used in some municipalities in the western part of the region to refer to people who keep bees. In Asturias, the word meleiro (honey seller) is used to describe "a person who sells honey," as well as someone with a gentle, mellifluous character who charms with their conversation. Likewise, the term miel (honey) is used to describe people with a soft and kind character, calling them "meixamiel," or applying the saying: "Faiste de miel y cómente les mosques" ("You are made of honey and eaten by flies"). Field Worker Carmen Pérez Maestro Climate Threats Loss of biodiversity,Invasive species Economic Threats Insufficient financial resources Weakened Practice Diminishing participation,Diminishing youth interest,Reduced practice Loss Threats Loss of cultural spaces,Loss of knowledge SDG Zero Hunger,Good Health and Wellbeing,Affordable and Clean Energy,Climate Action External ID LAPONTE_CP_04 Knowledge Management techniques are one of the most crucial aspects of apicultural production, as human capacity to work with bees directly affects the sustainability and productivity of the apiary. In western Asturias, a set of techniques was traditionally known that allowed for the maintenance and expansion of beehives: natural swarms were captured during May and June, and it was also possible to induce artificial swarms when necessary. In March, the old wax at the bottom of the hives—known to encourage the spread of wax moths and hinder proper brood development—was removed. Colonies were fed if required, and finally, a portion of the bees’ harvest was extracted, ensuring that enough was left behind for the colony to survive the winter. By contrast, in the central-eastern areas of Asturias, beekeeping operations were generally reduced to two basic tasks: the capture of swarms in spring—an essential practice to maintain the apiary—and the complete extraction of honey and wax. For this purpose, the heaviest hives were selected, and all the bees were killed in the process. The coexistence of these two extraction methods—one involving partial harvesting ("cutting" or "castrating" the hive), and the other involving total extraction through the destruction of the colony—clearly delineates a fundamental difference between the apicultural practices of western Asturias and those of the central and eastern zones (López, 1994). Abeyeiros (traditional Asturian beekeepers) are drawn to the behavior and biology of bees, demonstrating a profound and often intuitive understanding of the species they work with. Knowledge Transfer The learning of bee care was done, as with all teachings related to rural life, within the family. The youngest children, who did not take part in the hard tasks, would instead accompany their grandparents or parents to capture swarms in the spring and visit the beehives with them. Practitioners Although beekeeping is generally considered a male activity, in western Asturias—where bees play a significant role in the domestic economy and the apiaries are scattered throughout the countryside—it was traditionally an exclusively male occupation. Conversely, in the central and eastern regions of Asturias, it was common for women to take care of hives within their homes. Currently, the majority of practitioners remain men; however, there is also a notable presence of women, with both young men and women actively involved in the practice. Function Beekeeping represents an economic supplement or even a primary source of income for some beekeepers, particularly through the production of honey, wax, propolis, and other derivatives. This activity is closely linked to Asturian rural identity and has historical ties to traditional practices. In the context of rural depopulation and the loss of traditional occupations, sustaining beekeeping is viewed as an act of cultural resistance and the preservation of intangible heritage. Origins and change Traditional hives in Asturias are vertical and fixed-frame, meaning the combs are attached permanently to the hive body and can only be removed by breaking them. In contrast, modern movable-frame hives feature combs placed in removable frames that can be extracted without damage and then returned after honey extraction. The advantage of the latter system lies not only in harvesting honey without harming the bees but also in the ability to easily inspect and manipulate the colony. Until a few decades ago, more rudimentary methods were used to calm the bees during hive management: a tile with burning dung; a mechón or fumeiro—a bundle of old rags rolled up, which was the most common method; an escacio (an epiphytic lichen) harvested from trees; and oak bark. Nowadays, bellows smokers are employed. Organisations The Federation of Beekeepers’ Associations of Asturias (FAPI) represents beekeepers before official bodies, private entities, and other institutions, advocating for the collective interests of the apicultural community. Additionally, ADAPAS (Association for the Defense of Bees of the Principality of Asturias) works to protect and promote the welfare of bees in the region. Places Two specific constructions from this activity, of great ethnographic value, are the talameiros or talameras and, above all, the cortinos, beehives built in the mountains that appear in the western part of Asturias. Both types of beehives were and still are scattered across the sunny slopes of the low mountains and served to protect the hives from fire and bears. At the Beekeeping Museum of Caso, the life cycle of bees and their importance for the natural balance of the planet are displayed, helping to understand the foundations of the beekeeper’s work and the applications of the products obtained. Through its exhibition, one can observe the evolution of hives, the work involved in their preparation, the care they required, and the extraction of honey. Alongside this, there is an interesting collection of tools, utensils, and clothing necessary for beekeepers to carry out their work. The Beekeeping House in Los Mazos, Boal, is a center for dissemination and interpretation related to the art of bee breeding: traditional beekeeping, modern beekeeping, products extracted from the hive, life within the colony... At the Asturias People’s Museum in Gijón, there is also a collection of objects related to traditional beekeeping: hives of different types, honeycomb cutters, smokers, containers for storing honey, and wax presses. Artefacts Truebano, queisieyu o coxedor (se emplea para coger los enjambres que huyen lejos del colmenar o que se posan en la rama de un árbol), ahumadores de fuelle o soplón, cortadeiras, esmielgadoras o jegras empleadas por los abeyeiros están formadas por un mango y una hoja de doble filo y curva. Recipientes para almacenar la miel, trobos da mel o truébanos del miel, si son de madera y olla, el puchero, la tarreña, la xarrina y el pucherín si son de cerámica. Climate Threats Description Reduction of floral diversity. Invasive species—the Asian hornet (Vespa velutina), a predator of bees and a cause of stress in the hives, which reduces food collection. Deterioration of traditional structures for protecting the hives and access to them. Economic Threats Description No hay suficiestes ayudas por parte de las administraciones públicas para el mantenimiento de la apicultura. Safeguarding activities Activities organized by the two associations (see the organizations section). State of the practice declining Social sustainability Its main role is the maintenance of ecosystems and biodiversity precisely through entomophilous pollination carried out by the beekeeping population. Its environmental contribution can be measured both by an improvement in the final agricultural production, in quantity and quality, and by its contribution to the maintenance of biodiversity. No other livestock sector uses natural resources as sustainably while simultaneously providing environmental benefits and supporting rural areas, thus contributing to their maintenance and development. Therefore, it is an example of a Sustainable and Environmentally Beneficial Production Model, understood as one in which economic interests (production of honey and hive products that provide profitability to beekeeping operations), social aspects (settling populations in rural areas where there are hardly any other economic activities), and the environment (not only respectful of the environment but also providing a service to society through the pollination of our fields) converge. Environmental sustainability Contributing to the maintenance of the vegetation layer in our environment, to the production of pastures, apples, blueberries, chestnuts, cherries, etc Economic sustainability Beekeeping represents an economic supplement or even a primary source of income for some beekeepers, especially through the production of honey, wax, propolis, and other derivatives. Place The town or city Toda la provincia de Asturias Place Description Beekeeping in Asturias has a long-standing tradition, with a production structure linked to small-scale operations where self-consumption was a primary purpose of the harvests. This cultural practice is associated not only with traditional and ancestral knowledge and techniques, but also with a rich material heritage, as well as the important role of the "abeyeru" or "abeyeiro", the specialist in this type of livestock. Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Apicultura_artesanal_ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Apicultura artesanal Type The nature or genre of the resource Intangible Description An account of the resource 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. Creator An entity primarily responsible for making the resource 1204 Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 721 Source A related resource from which the described resource is derived asturiasmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. 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. Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/10/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Apicultura artesanal Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 1759 Context Processing and tanning of animal skins Field Worker Robertsen, Kjersti Technological Threats Industrial production,Surge of new technologies Weakened Practice Aged practitioners,Diminishing participation,Diminishing youth interest,Halted transmission between generations Loss Threats Loss of cultural spaces,Loss of knowledge,Material shortage Knowledge How much or little to process the reindeer skin for the wanted finished product. Knowledge Transfer Between people in families and duodji-societies/clubs Practitioners Duojárs/ duodji (Sámi handicrafts) practitioners, both male and female, all ages from youths to elderly. Function It is part of making the materials for the traditional Sámi crafts/duodji Origins and change The manual method of removing flesh from the skins are very old, but the method of using the electrical screwdriver method is newer. Places Sápmi State of the practice thriving Place The town or city Ramavuolle/Reinåsen, Tjeldsund, Troms, Norge Place Description "Markasamisk"/ Sámi village External ID MN_CP_10 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Removing flesh and films from reindeer skins with electrival screwdriver with ball attachment Type The nature or genre of the resource Intangible Description An account of the resource 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. Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 718 Source A related resource from which the described resource is derived lofotenmap Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 30/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Fjerning av kjøtt, fett og hinner på reinskinn med elektrisk skrutrekker med pusseball Spatial Coverage Spatial characteristics of the resource. current,68.58486433925802,16.703929280812623; Date Modified Date on which the resource was changed. 13/10/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 1756 Context Boatbuilding and fisheries has a long tradition i Norway. These craftmanship traditions are closely connected to oral traditions and to eachother. Field Worker Julie Therese Sæther Climate Threats Sea-level rise Economic Threats Insufficient financial resources Technological Threats Use of modern materials Policy Threats Educational standardisation Conflicts Outbreak of war or armed conflict Demographic Threats Rural-urban migration Decontextualization Misappropriation Globalisation Rapid sociocultural change Weakened Practice Aged practitioners,Diminishing youth interest Loss Threats Loss of knowledge SDG Decent Work and Economic Growth,Industry Innovation and Infrastructure,Sustainable Cities and Communities External ID MN_CP_09 Knowledge You have to have deep knowledge of the material and know which material to choose and how to make it function in the best possible way. You also have to know of the oral traditions among the fishermen and their experience with the boats. Knowledge Transfer There is one school in Fredrikstad that has the boat building education. But to learn it proparly you have to do it, you have to be an apprentice (lærling). Practitioners There are only men working at the workshop in Sørvågen, and there are mostly fishermen i Norway, but a few women choose this occupation to. Function The practice is very important and have a high standing in the fishermen community. The practice is a kulturbærer - culture carrier. Origins and change The oldest boat in Øksnes is from the Ironage. That boat is somewhat of a hybrid. It has been sown and klink built. That means that both sami traditions and the norse tradition is used on the same boat. Øksnes has been a sami hub for a long time, you can also find the sami presence in the the names of places, such as Navarsborr. Organisations Norsk fartøyvernsenter and Riksantikvaren Places For example Saltdal and Beiarn and Namdalen. It is places that has forest. Artefacts Hammer, sander and plane State of the practice endangered Social sustainability The practice contributes to community develpoment because its a workplace for people that live in the area. Environmental sustainability Refurbishment of old objects and reuse of material is sustainable (bærekraftig) Economic sustainability Yes it contributes to the ecomony of Øksnes municiplality, by paying taxes and creating jobs for locals. Place The town or city Sørvågen, Øksnes municipality, Vesterålen Place Description People in Øksnes municipality has traditionally been fishermen and farmers. Øksnes is based in the north of Langøya. There has been several small fishingvillages and today the main village is Myre. The base for the community is still fisheries. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boat building , repair and refurbishment Type The nature or genre of the resource Intangible Description An account of the resource 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. Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 717 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. BÅTBYGGER - PLUS SKOLEN Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 30/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Båtbygging, reparasjon og restaurering Source A related resource from which the described resource is derived practices Date Modified Date on which the resource was changed. 07/04/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 1752 Context Art is often connected to the culture in wich it appears. Ingrid Larssen has a close connection to sea and the coastal culture and the traditions connected to the area. Field Worker Julie Therese Sæther Climate Threats Water pollution Economic Threats Insufficient financial resources Policy Threats Educational standardisation Conflicts Outbreak of war or armed conflict Demographic Threats Rural-urban migration Globalisation New pastimes Weakened Practice Diminishing youth interest Loss Threats Loss of knowledge Climate Actions Community Engagement,Collaboration with other organisations ,Governance management and green policies SDG Decent Work and Economic Growth,Sustainable Cities and Communities,Responsible Consumption and Production External ID MN_CP_06 Knowledge You have know how to sow and you have to know how to color materials with natural ingredients. Knowledge Transfer From her mother and in sowingschool. Practitioners Sowing is tradtionally connected to women, and in the old days it was very common for women to be seamstresses. Ingrid learned her first stiches from her mother. Nowadays most of us have to learn it in school. Function Sowing is getting trendy again because peolpe are looking into reuse of clothes and material. It is a movement based in and against our modern society use- and throw- away mentality. Origins and change The tecnic smocking (vaffelsøm) stems from the middleages, and havent changed much. The needles may have changed a bit, they are smaller and thinner now. Organisations Different sowing schools in Norway Places Ingrid Larssen and her pratice is associated with Stokmarknes and Vesterålen. Artefacts Needles, scissors and graph paper Climate Threats Description The practioner uses seaweed and plants to color the textiles. Pollution may disrtort the coloringprocess. Economic Threats Description With more funding she could have had more exhibitions and maybe taken in apprentices and opend a workshop outside of her home. Technological Threats Description I dont know if any of these fit. She is not involved in industrial production, she is not looking for new technologies and she uses "old" materials such as wool and silk. Policy Threats Description I have the impression that fewer students are learning to sow in school. 30 years ago we learnt how to sow our own clothes, today they do some steaching on a little cloth. Conflicts Description This may harm all of us. Demographic Threats Description People often move away from Vesterålen, when they move. This may mean less visitors to exhibitions. Decontextualization Description I don´t think any of these fit eather, her work isnt threathened by any of these factors. Globalisation Description The may also mean that fewer attend artexhibitions. Weakened Practice Description The practice of smocking may be threatened if the young doesn't learn it anymore. Loss Threats Description The loss of knowledge regarding sowing and coloring with plants. State of the practice stable Social sustainability Inclusivity and community development. People can look at artwork where they are and see that it is possible to have it as a job. Environmental sustainability Yes she uses natural, renewable, locally sourced material and she leaves no waste. The material she uses can be found in shops and in nature in Vesterålen. Economic sustainability She contributes to the economy of Hadsel municipality by paying taxes and creating her own job. Place The town or city Stokmarknes, Vesterålen, Norway Place Description Vesterålen is an old region where people have lived since the stoneage. Hadsel municipality has traces of a lot of activity in the ironage and the vikingage especially. The region has been depentent on fisheries and people has a strong connection to the sea. The coastal steamer, hurtigruta, was astablished in Stokmarknes in 1893. Today there are to small cities i Vesterålen, Stokmarknes and Sortland, the rest of us live in small villages. Approximately 30000 people live in Vesterålen. Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Ingrid_Larssen_and_the_Smocking_technique Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ingrid Larssen and the Smocking technique Type The nature or genre of the resource Intangible Description An account of the resource 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. Language A language of the resource Norwegian Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 716 Source A related resource from which the described resource is derived lofotenmap Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 30/09/2025 Spatial Coverage Spatial characteristics of the resource. current,68.570175,14.940784; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 1746 Context Craftsmanships of different kinds as well as arts. Climate Threats Deterioration of material Economic Threats Arduous training Technological Threats Industrial production,Surge of new technologies Policy Threats Lack of conservation policy Weakened Practice Reduced practice Loss Threats Loss of knowledge Climate Actions Infrastructure Development SDG Industry Innovation and Infrastructure External ID MN_CP_05 Knowledge What type of glue that must be used for the elements to stick together, wether it is wood or other materials. Knowledge Transfer The knowledge is learned in school, as well as transmitted between people. Practitioners Carpenters, or related professions that requires this type of knowledge. Glue is used in many form and areas. Function It would probably be quite minimum given that this is quite the narrow practice. Origins and change The practice had change over time because of the introduction of chemical products etc. Sticking things together can be traced back quite long. Organisations Bodies that constructs things in different types and shapes that requires that things are glued together. Places It can be many dependend on i.e. contruction and maintenance. Artefacts Chemical products. State of the practice stable Place The town or city Ballangen Museum, Ofoten, Nordland, Norway Place Description For a long time, the community in Ballangen existed because of the mining industry. Hence, mining history is the main theme of the museum. Through the lens of a unique collection of objects, you get an insight into the former heyday of this community, its cultural events, schooling and everyday life. The museum is housed in the old administration building of the mining company Bjørkaasen Gruber, built in 1919. Even the building itself is worth a visit. Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Gluing Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gluing Type The nature or genre of the resource Intangible Description An account of the resource 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. Language A language of the resource Norwegian Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 715 Source A related resource from which the described resource is derived lofotenmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://snl.no/lim Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 30/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Liming/Glueing Spatial Coverage Spatial characteristics of the resource. current,68.3286347 ,16.7929442 ; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 1742 Context Mainly maintenance of building, artifacts or other items where one needs to use this tool. Climate Threats Deterioration of material Technological Threats Use of modern materials Weakened Practice Aged practitioners,Diminishing youth interest Loss Threats Loss of knowledge,Material shortage Climate Actions Collaboration with other organisations SDG Industry Innovation and Infrastructure,Responsible Consumption and Production External ID MN_CP_04 Knowledge Sawing first and foremost require safety measures. And of course precicion both when measuring and cutting the material in question. Knowledge Transfer Sawing can be learned at school, and as Per Henrik as metioned many times, a skilled that is self trained or tranfered between people. Practitioners Almost anyone can learn the skill of sawing. Function If we look past the professional side of this, sawing and this type of precition work one often find in volunteer communities. They often do maintenance of historical buildings and community houses. Where this skills is useful. And as Per Henrik, constructs artifacts and models. Origins and change The biggest change here is probably related to electricity and the ability to use sawing machines, in stead of manual labour. Organisations Schools and workplaces of contruction, maintenance and thus alike. Places Museums and other community centres where sawing is a part of the work or intangible heritage work. Artefacts A saw comes in many types and different shapes. The essence is the blade, usually made of methal. Wheras the rest of the body depend on what type of say it is. State of the practice stable Social sustainability Sawing is traditionally thought of mens work. Today carpenter profession is still more dominated by men. Environmental sustainability Both yes and no. The original saw is quite simple, but the new machines can be quite complex and consist of material which is not renewable such as electronical parts and other materials made from elements. Economic sustainability It depends on the user. It we are looking at companies, or if we are looking in the landscape of voluntary work. Place The town or city Ballangen Museum, Ofoten, Nordland, Norway Place Description For a long time, the community in Ballangen existed because of the mining industry. Hence, mining history is the main theme of the museum. Through the lens of a unique collection of objects, you get an insight into the former heyday of this community, its cultural events, schooling and everyday life. The museum is housed in the old administration building of the mining company Bjørkaasen Gruber, built in 1919. Even the building itself is worth a visit. Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Sawing Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sawing Type The nature or genre of the resource Intangible Description An account of the resource 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. Language A language of the resource Norwegian Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 714 Source A related resource from which the described resource is derived lofotenmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://snl.no/sag Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 30/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Saging Spatial Coverage Spatial characteristics of the resource. current,68.3286347,16.7929442; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context Two fundamental cultural practices are associated with the production of Afuega’l Pitu cheese. First, the preservation of traditional cattle farming in the areas covered by the protected designation of origin (PDO). Regulations require producers to use milk from Friesian cows or "Asturiana de los Valles" cows. Additionally, the animals must graze freely in pastures close to the facilities and be gathered for milking at sunset. Despite the challenges faced by small dairy farms today, the PDO encourages the use of milk from family-run farms. Secondly, the direct sale of the product to consumers at local markets helps preserve these weekly markets. In Asturias, since the Middle Ages, each municipality has held a weekly market where, until recently, surplus local agricultural produce was sold. However, the rural crisis and the emergence of large retail chains have threatened the survival of these traditional markets. The direct sale of cheese at these markets not only helps preserve this cultural tradition but also strengthens their significant social and economic roles at the local level. Field Worker Santiago Rodríguez Pérez Climate Threats Loss of biodiversity,Deterioration of space Economic Threats Rapid economic transformation Technological Threats Industrial production Demographic Threats Rural-urban migration,Degraded habitat Decontextualization Touristification,Theatrification Globalisation Rapid sociocultural change Weakened Practice Aged practitioners,Reduced practice Loss Threats Loss of ancestral language,Loss of cultural spaces,Loss of knowledge,Loss of cultural significance Climate Actions Community Engagement,Educational programs,Governance management and green policies SDG No Poverty,Zero Hunger,Good Health and Wellbeing,Gender Equality,Decent Work and Economic Growth,Reduced Inequalities,Sustainable Cities and Communities,Responsible Consumption and Production,Climate Action,Life On Land External ID UNIOVI_CP_02 Knowledge Cheese making is a relatively simple process, but it requires certain skills. First, it is essential to have a thorough knowledge of the raw material—local milk—since its quality is crucial to the final product. In addition, manual dexterity and strict adherence to the established times and temperatures for coagulation, ladling into molds, and curing are necessary. However, for the craftswomen who produce it, the most important aspect is to demonstrate a special sensitivity and a deep respect for the cultural tradition that this cheese represents, which entails making it correctly and following traditional methods. Although some innovations have been introduced, only those necessary to improve working conditions have been implemented, without altering the properties and characteristics of the final product. Knowledge Transfer Artisanal tradition has been passed down from generation to generation through the women of rural families, as they are predominantly the ones who have preserved this knowledge by historically being responsible for producing cheese and butter. Today, this knowledge is still transmitted within the family since there is no formal training or official course for those who wish to learn or set up a small factory, although some school workshops are offered for educational and outreach purposes. Moreover, there is literature available on the subject, and the regulations of the Protected Designation of Origin establish how the product’s manufacturing process should be carried out. Additionally, some accredited courses in food handling, among others, are offered, but most of the craftswomen learned the trade at home from their elders. Practitioners In the past, on family farms (caserías), cheese was produced both for domestic consumption and, primarily, for sale at the weekly markets held in the municipal capitals. The sale of cheese and homemade butter generated significant economic benefits that were reinvested in acquiring goods that the farms could not produce themselves, such as tools, services, or consumer products (coffee, sugar, rice, oil, etc.). The know-how for cheese making was widely disseminated among peasants, and it was generally a task carried out by women, who were responsible for both production on the farm and its transportation and sale at the markets. Since it was a family-made product, the transmission of this knowledge was passed down from mothers to daughters, and even today we can observe this tradition in numerous family-run cheesemakers, originally founded by mothers and currently maintained by daughters. Nowadays, though to a lesser extent and in an almost symbolic manner, some people still produce this cheese at home for their own consumption, much like it was traditionally made. Currently, almost all of the production is carried out by the seven cheeseries covered by the Protected Designation of Origin, most of which are family-run enterprises where women play a predominant role. Function Afuega’l Pitu cheese represents a tradition deeply connected to the region, local consumers, and the families who produce it, while also being a highly sought-after product. This artisanal cheese, whose consumption is firmly rooted in Asturias, is an essential part of the Asturian gastronomic identity. Origins and change Afuega’l Pitu is likely one of the oldest Asturian cheeses. Some of its varieties are made through the natural acidic coagulation of milk, combined with heat treatments, without the need for rennet. Although no earlier records exist, this cheese has been documented since at least the 18th century, when it was even used as currency to pay taxes. By the late 19th century, various writers had referenced it. Félix Aramburu y Zuloaga described it as the "primitive queso de puñu or afuega’l pitu, common in almost all the municipalities of Asturias." Around the same time (1900), the book Asturias by Octavio Bellmunt and Fermín Canella also mentioned it, highlighting its widespread presence throughout the region and referring to it as "the ones commonly found everywhere, called afuega’l pitu or by other names." These were the cheeses typically made on farms, distinct from those available in markets, which came from elsewhere. Traditionally, it was made using raw milk. By the 1960s, farms had specialized in dairy production, but with the rise of mass-produced packaged milk from large dairy industries and the low prices paid to producers, some farmers began using their raw material to create a processed product—cheese. Before 1980, farms were free to sell their products in local markets. However, from that year onward, public authorities began requiring sanitary registration for both facilities and production due to health concerns in Asturian livestock farms. This measure led to conflicts with the Administration, which even went so far as to ban cheese commercialization until certain hygiene standards were met, including the mandatory pasteurization of milk. Cheese production then became professionalized, marking the start of mandatory compliance with sanitary regulations. This resulted in a decline in the number of producers, who transitioned into small family-run businesses. At the same time, facilities were modernized with the introduction of pasteurization machines, r Organisations Afuega’l Pitu cheese holds the Protected Designation of Origin (PDO). In 2003, the Asturian government promoted and managed this designation to ensure the product’s survival, since—even though it was historically produced across a vast region of Asturias—its production had been in decline. Moreover, this measure was part of a strategy to revitalize the rural areas where the cheese was produced. To that end, the Regulatory Council for the Protected Designation of Origin “Afuega’l Pitu” was established, an organization in which all registered producers participate and which ensures compliance with the PDO regulations. The Asturian government demonstrates a strong commitment to local products by actively incorporating them into its tourism and gastronomic campaigns. Culinary competitions and events related to this cheese are frequently organized. Additionally, many of its producers are members of the Association of Artisan Cheesemakers of Asturias. Although there is no museum in Asturias dedicated exclusively to this product, the Museu Etnográficu de la Llechería in Morcín, which focuses on dairy production, stands out as an important center for its dissemination. Places In the production of Afuega’l Pitu cheese, we find three important elements to understand its historical and social context. A.
Traditional agrarian landscapes. The milk comes from open-pasture livestock farming. Although nowadays most cattle are intended for meat production, the Asturian landscape is dominated by meadows where cows graze for both meat and milk production. The local, high-quality grass influences the organoleptic characteristics of this cheese. Its production also contributes to the preservation of these landscapes. B.
Elevated granaries. One of the elements of traditional Asturian architecture, the elevated wooden granaries, known as 'hórreos' and 'paneras,' are connected to the production of this cheese. Traditionally, before professionalization and the advent of maturation chambers, the cheeses were aged inside these elevated granaries. In fact, one of their interior pieces, the 'cheese beam,' owes its name to its use for storing cheeses there. The cheese factory Ca Sanchu in Grau produces a long-aged variety of Afuega’l Pitu inside a 'hórreo.' C.
Traditional outdoor local markets. Since the Middle Ages, outdoor markets have been held in all the municipal capitals of Asturias, where local farm products were sold. They are an intangible cultural heritage, a meeting point for the local population, and essential for proximity commerce. Today, they still exist but are somewhat in decline due to the rise of large commercial supermarkets. Artefacts In the production of Afuega’l Pitu cheese, there are two fundamental elements which, although they retain their traditional use, are now made with modern materials. The first is the conical mold used to drain the cheese, traditionally called "barreña" in Asturias. It consists of a conical-shaped container perforated across its entire surface, acting as a strainer to separate the whey from the curd. Originally made of ceramic, nowadays they are manufactured using food-grade plastic. In domestic dairies, there used to be one or two of these molds, as milk production was smaller and intended for household consumption, but nowadays a dairy requires hundreds of barreñas to produce cheese. The second is the "garciella," the ladle used to take the curd from the tank and layer it into the molds (barreñas). This method of layering the curd in the mold is essential to give the cheese its distinctive texture. State of the practice thriving Social sustainability The practice enhances social sustainability and contributes positively to various areas. Gender equality. Most of the companies dedicated to producing Afuega’l Pitu cheese are managed by women and provide employment opportunities to other women (La Borbolla, Temia, Ca Sanchu, La Arquera, among others). These companies not only offer jobs but also play an essential role in empowering women in rural areas, strengthening their presence and fostering their development in these regions. Another key aspect is the retention of population and resources in rural areas. By being economically viable, these companies establish themselves as an essential resource for the local economy. Their work ensures the permanence of resources and population in rural areas, promoting a sustainable balance for the environment and communities. These activities not only support community development but also encourage the preservation of cultural and economic traditions unique to the region. Environmental sustainability It contributes decisively in several aspects: Use of local raw materials. Locally sourced milk is utilized, supporting the regional economy and ensuring a fresh and high-quality product. Renewable energy. Although renewable energy sources are not currently used, there is a willingness to adopt them in the near future. Some dairies have already taken steps by installing solar panels, demonstrating a commitment to sustainability. Waste management. The practice generates very little waste, mainly limited to whey, which is a biodegradable material. Efforts are underway to explore ways to use this by-product in both animal and human nutrition. Furthermore, whey is utilized as a natural fertilizer, promoting a circular economy. Proximity markets. The product is primarily marketed locally, minimizing the carbon footprint by reducing the need for long-distance transportation. Quality and sustainability assurance. It holds designation of origin seals and undergoes strict controls, ensuring both the quality of the product and its contribution to sustainability. Economic sustainability The practice contributes significantly to economic sustainability in several aspects: Job creation in isolated rural areas. The production of a high-quality food product generates job opportunities in rural communities, strengthening the local economy and stabilizing population in these regions. Redistribution of benefits in rural areas. The income generated is distributed among local traders and providers of goods and services, also benefiting farmers in the region. This promotes a more equitable and robust economy within the rural environment. Accessibility and local markets. A large portion of the product from some dairies is sold directly to the public at outdoor markets. With reduced prices, the product is made accessible to everyone. Additionally, the philosophy of these dairies focuses on offering an affordable artisanal product, fostering proximity trade and strengthening local economies. Place The town or city Municipalities of Morcín, Riosa, Santo Adriano, Grau/Grado, Salas, Pravia, Tinéu, Belmonte de Miranda, Cudillero, Candamo, Las Regueras, Muros de Nalón, and Sotu'l Barcu. Asturias, Spain. Place Description Asturias is a region located in the north of the Iberian Peninsula, on the Atlantic coast. It consists of an area of 10,556 km² and forms an autonomous community within the Spanish state. Geographically, it is situated at the western end of the Atlantic Biogeographic Region, with an oceanic and temperate climate characterized by mild temperatures, abundant rainfall, and high cloud cover. Its terrain is predominantly mountainous, with average slopes of 33%, featuring three distinct landscapes: the coastal plain, the interior valleys, and the high mountains. Asturian flora falls within the European Atlantic flora, with deciduous broadleaf forests being particularly notable. The capital of the region is Oviedo/Uviéu, and the population currently stands at 1,009,599, with 80% concentrated in the central metropolitan area. Historically, agriculture, livestock, and fishing have been the fundamental livelihoods of its inhabitants. In the late 19th century, industrialization developed in the central part of the province, with coal mining in the central basins and the rise of the iron and steel industry. In the rest of the community, traditional peasant agriculture persisted until the 1960s. Family farms (“caserías”) were the basis of rural settlement and agricultural production, grouping together into villages. The "casería" was the home of peasant families and included the dwelling and the buildings intended for production, as well as the cultivated lands, livestock, and rights over communal property. Traditional agriculture was geared towards the self-sufficiency of peasant families and was based on cereal production, which constituted the main sustenance, with part of the surplus being sold in local markets. In the early 20th century, with the arrival of industrialization to rural areas, cattle farming for milk and meat production was boosted, which drove the development of an important dairy industry in the region, spurred both by agricultural policies and by the regio Prim Media 1266 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Afuega'l pitu cheesemaking Type The nature or genre of the resource Intangible Description An account of the resource 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). Language A language of the resource Asturian,Spanish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 593 Source A related resource from which the described resource is derived asturiasmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. 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 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Queisu d'Afuega'l Pitu Spatial Coverage Spatial characteristics of the resource. current,43.3873217019935,-6.07267544503857; Date Modified Date on which the resource was changed. 28/10/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 1262 Context A tradition and ritual is to not talk about fire or burning, to both be clear in communication that this is not about burning but charring, but different practitioners might also find that it's bad luck. It's also customary to give a name to the pile, which the volonteers choose the second day (when they have "gotten to know who the charcoal pile is"). Additionally, many outside of the practice associate the stories of charring coal with the poet Dan Andersson (from neighbouring region of Dalarna), which has written poems about the practice. Field Worker Kajsa Stinnerbom, Sara Olsson Technological Threats Industrial production Policy Threats Lack of conservation policy Weakened Practice Aged practitioners,Diminishing participation,Diminishing youth interest,Halted transmission between generations,Reduced practice Loss Threats Loss of knowledge,Loss of cultural significance SDG Good Health and Wellbeing,Sustainable Cities and Communities External ID RV_CP_08 Knowledge Our informant who’s been doing this the longest in the volunteer group (15 years) that are responsible for the charring tells that it's nearly impossible to learn by reading and must be learnt by doing. It's a tacit knowledge that's required and a very sensuous type of understanding They have made a standardizations e.g. with the measurements of the wood but each year they learn something new, as they are only building one each year. How to tend to the pile with the hit of a sledgehammer and skewers, as well as understanding the different type of smoke that rises are crucial. Knowledge Transfer A volunteer group of about twelve people are meeting each year to construct the pile and tend to it. They meet at weekends in late spring to construct it. The volunteers are all doing this out of their own interest and are mostly local inhabitants. Our informant who is in charge has learnt from the previous leader, and the pile has been made annually at "Gammelvala" for 60 years. Since the pile is made for the event, it's made doing summer, but traditionally they charred during the winter. Practitioners About twelve people meet each year, mostly local people. Out of the twelve practitioners, three are under 30 years, three between 30-40, and he rest are older. All of the volunteers are male, but they have had women included in the work as well. They are welcoming to women joining the group. Function Up until the 1940's charcoal was still being produced this way in Värmland, also to support the fuel for wood gas fuelled cars during the war. Depending on what type of wood being charred, different coal is produced. Today the wood used is birch, which makes for great grill coal, and is being sold as exclusive local coal, which is a pride for the folk museum where "Gammelvala" is held. Each year, when the event "Gammelvala" starts, an inaugurator is chosen to light the pile as an honour, alternating each year between a man and a woman. A few years back it was the governor of Värmland, and this year it will be a popular comedian lightning the pile. As very few charcoal piles are made in Värmland these days, this is an event which the organization Brunskogs hembygdsgård are proud of and many visitors come to witness it. Origins and change This type of coal productions have used throughout the ages and in various forms and sizes. The charcoal production of Western Värmland (this region) has also been studied by the local ethnologist Nils Keyland (1867-1924). From being a practice that was primarily done for the iron productions at a larger scale during the 18th century, for the wood coal to extract the iron from the ore, to being a way to produce fuel during the war, the charcoal is now not used in iron production or blacksmithing, but sold as a luxurious product as BBQ coal. Organisations Brunskogs hembygdsgård, which can be translated into Brunskog's "heritage farm" or "old farmstead", or collection of older buildings, run and managed by the local heritage association. Charcoal piles have been constructed at many local "heritage farms" throughout Sweden from the last part of 20th century.. There does not seem to exist a joint organisation in Sweden that safeguards or functions as a knowledge hub for this practice. Places See organisations. It's also constructed at schools such as Sätergläntan, a school for crafts in neighbouring region Dalarna. Artefacts To make the process easier and more manageable they are using power tools to prepare the materials, such as cutting the wood. Otherwise the tools mainly used during the process are sledgehammer, iron bar and shovel. They also put on a chimney for the last part of the charring, which is also traditional but a later practice. During the event the volonteers are dressing in clothes that resemble that of a late 1800's and early 1900's cut, fabric and with the "slokhatt", a slouch hat which is a floppy felt hat usually worn by workers during that era in Sweden. Technological Threats Description Today it's only practicied for preserving. Policy Threats Description There's a lack for these types of practices. Weakened Practice Description As there are only volunteer practitioners, gathering for making one pile a year, there's a reduced practice. Loss Threats Description As fewer are practicing, there's a lack of knowledge. Fewer have their own relation to the practice, as the war years are further away where this was still a stronger practice, which weakens the cultural significance. State of the practice endangered Social sustainability Yes, it's social sustrainability in the practice for the participants and the community. Environmental sustainability It could be argued that it's actually, albeit small, a threat to the environment to practice this type of charring coal. Even though no LCA have been carried out, the more moderns ways of charring coal could be much more environmentally sustainable. Economic sustainability There's no economic sustainability, even though they sell the charred coal as a exclusive product. Place The town or city Brunskog, Värmland, Sweden Place Description Brunskog, Arvika and the west parts of Värmland is a region where art and handicrafts have a long and strong tradition and that’s still largely present today. At the turn of the century 1900’s, many Swedish artists came to the area and an artists' colony, Rackstadkolonin, was established. The new ideas and expressions these artists brought with them along with the well-established and skilled craftsmanship that already existed here have contributed to the well-known arts and crafts area Arvika is today. The arts and crafts are greatly appreciated here by both practitioners, residents and visitors and are seen as a great asset and strong brand for the area. Arvika is a town of about 14.000, and the municipality has about 25.000 habitants. Brunskog's parish has about 2.000 inhabitants. Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Making_and_charring_a_charcoal_pile Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Making and charring a charcoal pile Type The nature or genre of the resource Intangible Description An account of the resource 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. Language A language of the resource Swedish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 592 Source A related resource from which the described resource is derived varmlandmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. 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 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Kolmilning Spatial Coverage Spatial characteristics of the resource. current,59.6564613,12.8910436; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context The mittens are worn with the local folk costumes in the area. Also, a local ethnologist, Ulrika Jäger, is researching the connection of the symbolism of the flowers to the strong worship of Mother Mary in this area, before the reformation, when the valleys were a pilgrimage route to Nidaros, modern day Trondheim. The flowerson the mittens seem to be the same as the ones as the once symbolizing "Mary's plants". Field Worker Ulrika Jäger, Kajsa Stinnerbom Economic Threats Insufficient renumeration Technological Threats Industrial production Weakened Practice Aged practitioners,Diminishing participation,Diminishing youth interest,Halted transmission between generations,Reduced practice Loss Threats Loss of knowledge,Loss of protective status SDG Sustainable Cities and Communities,Responsible Consumption and Production External ID RV_CP_06 Knowledge To make the Dalby nålbidningn there's a special technique that's slightly different from other types of nålbindning. This particular technique is shown and mentioned as "Dalbytekniken", the Dalby technique in the book: (5.112) i "Vinterblomster. Nålbundna vantar från Dalby i Värmland" (page 36). It requiers a knowledge of "krus", embroidery, of the flowers and the local practice. The craft requiers both practical skill, cultural and traditional knowledge. Knowledge Transfer The technique and tradition are today taught by Bengtsson. She preferes teaching it personally to one pupil at the time as it's advanced and she wants to make sure she can show and teach all details. She's also held courses and taught in schools for ages 13-16 in textile craft. Practitioners Women have practices and taught this craft and it's been passed down in generations. To sell this type of crafts have before been an important way to make additional income. Today very few are making and selling these products. There's also somewhat of a notion that it's difficult and that there's a particular way to do it, which can frighten potential new practioners. Function The mitten is known for it's connection and tradition in the Klarälvdalen/ Klara river valley in the northen part of Värmland. The mitten holds an imporant meaning for the cultural heritage in the area. The particular technique and the choice of flowers are special for the region. Origins and change This technique has been documentet since the viking age. There are also reason to believe that the technique was also transfered to the region from the immigrating Finns in the northen part of Värmland during the 16- and 1700. Organisations Utmarksmuseet, "the Outfield museum", www.utmark.se. Places The area of the Klarälvdalen / Klara river valley and the parish of Dalby, Värmland. Artefacts Primarily mittens but also other garments and clothes made in the technique, and usually here also decorated with the particular flowers. Economic Threats Description There's no economy in making a pair of mittens and selling them for a resonable or even good price. Technological Threats Description It could be argued that the embroidery could be made industrially, but the nålbindning could not. Weakened Practice Description Few are practicing, few are learning, few know how to make these types of products. Loss Threats Description Loss of knowledge due to less practicing. Unsure if it has had a protected status, but it does not right now. State of the practice endangered Social sustainability The technique makes the e.g. mittens very durable and they are also made in a very high quality. Environmental sustainability 100% wool, fully biodegradable and also durable. Economic sustainability There's a large intrest for these products, but it's not economically sustainable. A pair of mittens takes about 90 hours to make. Place The town or city Sysslebäck, Sweden Place Description Sysslebäck is a small town of about 500 inhabitants in Dalby parish, Torsby municipality. The Norra Klarälvdalen is characterized by the winding river, valley and forests. Through the building tradition in agriculture and forestry, we see that the area is recognizable and reminiscent of a North Scandinavian character with a Norrland-influenced vegetation. From a historical perspective, the Klarälvdalen and the area along the banks of the Klarälven have been crossed by thousands of pilgrims heading for Nidaros, today's Trondheim.The area invites skiing, hiking and fishing. There is a rich wildlife and the area is home to one of the country's densest moose populations. Prim Media 1257 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Nålbindning (literally: needle binding) Type The nature or genre of the resource Intangible Description An account of the resource 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. Language A language of the resource Swedish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 591 Source A related resource from which the described resource is derived ruralvarmland,varmlandmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. 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 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Nålbindning, sömma, binda, nåla, vantsöm, sy Spatial Coverage Spatial characteristics of the resource. current,60.71118,12.88606; Date Modified Date on which the resource was changed. 08/09/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 1252 Context The area where Thenman grew up and lives has been traditionally and culturally connected to ceramics for several generations. There is a strong cultural connection to ceramic objects. There's also a connection to folkmusic, as many potters in the region have also been folk musicans, which has affected the music of the area since the ceramisist have been traveling to visit and work in different studios and have learnt folk music and have spread songs. Field Worker Ulrika Jäger, Sara Olsson Economic Threats Insufficient renumeration,Increased income disparity,Arduous training Technological Threats Industrial production,Surge of new technologies,Use of modern materials Policy Threats Threatening regional planning policies Weakened Practice Aged practitioners,Diminishing youth interest,Reduced practice SDG Sustainable Cities and Communities,Responsible Consumption and Production External ID RV_CP_05 Knowledge Thorough understanding of the mechanics and nature of clay, kilns, tools, glazes, chemistry (either from learning by doing or with understanding the theory too), as well as artistic skills. Knowledge Transfer The potters usually have very long, solid and specific knowledge and skills which they've gathered from education, courses and from learning by doing and learning together. Practitioners There's nine potters in Arvika Konsthantverk today, with two living outside the region. There's been prominent men and women as practicioners. Compared to earlier potters in the area, the potters today work more individually, whereas before it was more of a team effort, but they are joint in the co-op. Function Edane, Arvika, has a long tradition as an area with a strong tradition of practicing ceramists. Arvika konsthantverkare, of which Kristine Thenman is a member, has existed for over 100 years. It's a pride of the area. Origins and change The culture of pottery making comes from the fact that there's a clay vein in the area, so the history of potters there goes back a long time. There's been families that have learnt in tradition, nowadays it's taught in Organisations Rackstadmuseet and Kyrkerud folk high school (south west of this area) where it's possible to learn pottery. Places Several artisan workshops in the area as well as old pottery studios such as the Pottery museum at Övre stortorpet. Artefacts Ceramic utensils, applied arts, (plates, bowls, mugs, etc.). Everyday objects needed in a home: bowls and dishes for food and storage, jugs for drinks, candlesticks, pots for storage, for plants. Art of decorating public spaces and the home. Economic Threats Description It's difficult for the unknowing potential customer to understand the work and knowledge behind the artisans artefacts. Since it's a matter of applied arts, it's also competing with cheaper production of similar items, also due to increased income disparity. Getting to the knowledge needed to make these types of artefacts also requiers a long training. Technological Threats Description There could be argued that these are threats due to mass production of cheaper products, as well as there might be machines that can do similar products. Still the public seem to want craft as a complement industry products. Policy Threats Description Not a regional planning question, but rather on a national level, there's a lack of politics to support the area. Weakened Practice Description The practitioners are getting older and there's a reduced practice. If there's a diminishing youth interest is harder to tell. State of the practice declining Environmental sustainability Clay is bought from other countries, and it could be made with local clay since the local material is plentiful and has high quality. The glazes can have large enviormental footprints. The kilns in the area are both wood fired and electrical. Thenman and Stuart Beck expresses in an interview that they would like to se a more sustainable production that in a natural way connects with the local tradition. Economic sustainability Difficult to make a living just being a potter. Thenman and Stuart Beck has expressed that it's also irrational to think that it would be economical to make and sell the earthenware clay artefacts that are from the area (from the work that goes into the whole process) Place The town or city Edane, Arvika, Sweden Place Description Edane is a locality in Arvika municiplaity, in region Värmland, Sweden, with about 700 inhabitants. It's situated by the northen shore of lake Värmlen and also is part of the area of the clay vein in western Värmland. In the area around Arvika and Edane, several potters have lived and worked. In the late 1800's, there's was an artist colony establised in the area, and the local Arvika konsthantverk, a co-operative for applied arts and crafters, was established. At most during that time about a dozen potery studios were running. The municipality of Arvika is to this day seen as a stonghold of culture in Värmland. Arvika is a municipality of 25 000, with about 15 inhabitants/km2. The largest employer in Edane is smaller industries. Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/(Earthenware)_ceramics Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource (Earthenware) ceramics Type The nature or genre of the resource Intangible Description An account of the resource 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. Language A language of the resource Swedish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 590 Source A related resource from which the described resource is derived varmlandmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://www.hemslojd.se/det-leriga-experimentet/ https://visitvarmland.com/arvika/kultur-historia/museum/krukmakerimuseet-pa-ovre-stortorpet Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. (Lergods)keramik Spatial Coverage Spatial characteristics of the resource. current,59.6303487,12.8132104; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context The connection and relation to other practices are primarily the one to the (traditional) wood craft, träslöjd, since the surfaces decorated spring from that practice. Field Worker Ulrika Jäger, Kajsa Stinnerbom Economic Threats Insufficient renumeration Technological Threats Industrial production SDG Sustainable Cities and Communities,Responsible Consumption and Production External ID RV_CP_04 Knowledge Knowledge of the fibers, material and types of wood. In this tradition it's most common to use and gather the material yourself. This also is a way to gather knowledge, as one follows the whole process from the origin to the finished product and it's a matter of technical skill in the usage of tools and also a knowledge in the whole process of whittling, carving and processing the material in a traditional way. Knowledge Transfer Primarily taught at courses and workshops. Some pick up the technique themselves from tutorials. Practitioners The ones doing this technique are the ones that are enjoying the decoration of surfaces. Both young and older, men and female. Function An individual function as an interesting, rewarding and aestetic practice. Origins and change It's still a way of decorating Organisations Possible to see older artefacts at museums, archives, collections, but there's not a gathering organisational home for the special technique. Places Courses and workshops. Artefacts The only thing needed is a knife, of which there can be a varity. It's a very accesible Economic Threats Description The preceived value of the knowledge and craft can be an issue. Technological Threats Description Can be done with a face milling machine, but it differs from the expression and quality of the cut. State of the practice thriving Social sustainability It's an inclusive technique, in which many can participate. Environmental sustainability Fully ecological and biodegradable. Easy to find material and very easy to acces. No need for advanced tools to make objects. Economic sustainability A contributor to the wood craft, can be a niche. Place The town or city Hensgård 41, Västra Ämtervik, Sweden Place Description Västra Ämtervik is village and area in the Swedish countryside. It's in the valley of Fryken, and there's smaller villages around it with smaller farms. Around 1000 people live here. Västra Ämtervik is situated in Sunne municipality which has about 10 000 inhabitants. Sunne is a culturally important place in Värmland and is home to many creative people, as well as has cultural tourists visiting for the folk lore inspired regional theater "Västanå teater", which attracts more than 30 000 each year. It's also close to the ski center which also attracts visitors. Prim Media 1247 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chip carving Type The nature or genre of the resource Intangible Description An account of the resource 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. Language A language of the resource Swedish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 589 Source A related resource from which the described resource is derived varmlandmap Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Karvsnitt Spatial Coverage Spatial characteristics of the resource. current,59.7265854,13.1227098; Date Modified Date on which the resource was changed. 08/09/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context One related cultural practice to the cunqueira tradition is the trade of the blacksmith (ferreiro). This craft is essential for creating tools and equipment needed for woodworking and other rural tasks. In particular, blacksmiths forge tools such as axes, chisels, and other metal implements that are crucial for the work of woodworkers, basket makers, and traditional shoemakers (madreñeros). These tools are no longer produced industrially because they are not in demand on a large scale. Therefore, the blacksmith's role remains key to the survival of many traditional crafts. However, the blacksmith trade is also facing extinction in Asturias, with few practitioners remaining, such as Alfredo in Arabal, Tineo, who is aging and working less, and a former blacksmith in Posada de Rengos who has significantly reduced his activity. The activity is also reflected in the oral tradition through local songs, where the departure of the cunqueiros, the craft itself, and other related aspects are mentioned. A collection of these songs and melodies, performed by Rosa "Cunqueira," can be found on YouTube: https://www.youtube.com/@rosacunqueira4419 Some examples are: “Los cunqueiros vanse, vanse; las cunqueiras tsoran, tsoran, ¡ay de mí, triste aburrida! ¿con quién voy dormir ahora?”, "The cunqueiros are leaving, they are leaving; the cunqueiras cry, they cry, oh me, sad and bored! Who will I sleep with now?" or "al llegar al alto la collada, di la vuelta a mi sombrero. Adiós pueblo de Trabau, en el corazón te llevo", "When I reach the pass, I turn my hat around, goodbye village of Trabau, I carry you in my heart." Field Worker Olaya Alonso López Technological Threats Industrial production,Use of modern materials Policy Threats Lack of conservation policy Demographic Threats Rural-urban migration Weakened Practice Reduced practice Loss Threats Loss of ancestral language,Loss of knowledge,Loss of cultural significance SDG Quality Education,Sustainable Cities and Communities,Responsible Consumption and Production External ID ESPTOR_CP_01 Knowledge The practice of creating wooden bowls requires a combination of traditional craftsmanship, an understanding of natural cycles, and knowledge of wood behavior. First, the craftsman needs to observe the lunar cycle, as it is believed that cutting wood during the waning moon (cuarto menguante) results in better quality wood. The lunar phases affect the sap movement in the tree, with the sap concentrated in the roots during the waning moon, making the wood more durable. The craft requires knowledge of tree types, particularly deciduous trees, and the ideal time to cut them—during the winter when the trees are in their vegetative rest phase. The wood is then left to "bleed" or expel sap for 2-3 months to make it more resistant to damage and pests. The process of working the wood involves using basic tools like a chainsaw to cut the tree, an axe to shape the wood, a lathe to turn it, and gouges to refine the shape. Additionally, skills in drying the wood, avoiding cracks, and knowing the appropriate finishing techniques are necessary. The creation of different pieces requires varying levels of skill and time. For example, making a standard bowl might take 30-40 minutes, while more intricate pieces like "tachadeiras" or "cimbreiras" can take hours to complete. The craft requires patience and attention to detail, especially in the preparation and drying of the wood, as well as understanding the specific characteristics of different trees and their wood. The tools used are relatively simple, including a chainsaw, axe, compass, pencil, tape measure, lathe, and gouges. Knowledge Transfer This craft technique used to be passed down orally and through practice within the community itself. The practice gradually disappeared by the mid-20th century, with a pause between the 1970s and 1990s. Valdovinos Gabela was the last traditional "Cunqueiro" who had participated in transhumance in his youth, and after retiring from herding, he still made some bowls as a hobby in the 1980s. In the 1990s, Victorino García self-taught himself to revive this practice, and in 2005 he began an activity more associated with tourism and experiences through "El Rincón Cunqueiro." Víctor García, his nephew, became interested in the craft and learned from his uncle in the 2000s at the age of 12-13, later dedicating himself professionally to the trade as a freelancer from the age of 18. Víctor's mother, Rosa "Cunqueira," was a tour guide at the Muniellos Natural Reserve and started offering guided tours of the workshop and learning the craft, primarily making tambourines, drums, and castanets. Unfortunately, Victorino passed away in 2020 and Rosa in 2024, leaving Víctor as the last "Cunqueiro" knowledgeable about this practice. Following his mother's sudden passing, Víctor temporarily ceased his activities. He plans to reopen the workshop and resume his work soon, offering workshops and courses, and is willing to collaborate with the university (he previously taught five years of university extension courses) in the dissemination, promotion, and, above all, training to enable a dignified living from the craft (profitability-sustainability), helping the positive development of his land, Degaña, which he considers the most important aspect for the preservation of this traditional craft. In brief, the transmission of this craft depends on Victor Garcia's voluntary efforts to pass on this technique and, more importantly, its significance to the region. Practitioners Currently, there are no established roles or division of responsibilities based on importance or gender roles (although in the past, the craft was practiced by men in a transhumant way, as an extra source of income during the winter months, due to the difficult geography that made it hard to maintain crops and livestock to survive the cold months). This is because there is only one remaining "Cunqueiro," which is Víctor García (33 years old). Function Originally, the craft was particularly important during the colder months (from October to April) when agricultural work was less productive and the need for self-sufficiency was most critical. During this time, men would form groups to travel and sell their handmade goods, which helped supplement family incomes and reduce the burden of feeding their families, as the winters could be harsh and food scarce. Nowadays, the craft has lost much of its practical function and is valued more for its cultural significance, social appreciation, and as a tool for regional promotion by local administrations. For Víctor, the last practitioner, it has become an economic resource, one that he combines with other means to make a living. Origins and change The cunqueira (or tixileira) tradition has roots that date back to the 16th century in the southwestern region of Asturias, particularly in the municipalities of Ibias and Degaña. This craft, initially focused on wood carving, was primarily used to create domestic utensils ("tixelas"), particularly wooden tableware like "cachus" (wooden bowls), "tachadeiras" (plates), and "cimbreiras" (airtight containers), etc. The materials and tools used to create the tixelas have remained stable over time. The materials include wood from deciduous trees such as birch, walnut, ash, maple, and chestnut—native woods from the local forests, mainly from living trees. The tools are simple, including axes, compasses, pencils, rulers, the lathe, and chisels. The work has always been and remains essentially manual, relying on skill. The only modern innovations are the use of chainsaws, planers, and sanders, which ease some processes in obtaining the wood and improve the finish for sale, but the carving with the lathe and chisels remains exactly the same. Another difference is that while the craft originally focused primarily on creating tixelas, which are now less useful, Víctor, Victorino, and Rosa have diversified their products. They now also create and sell musical instruments (tambourines, pandeiros, and castanets), "madreñes" (traditional Asturian wooden shoes), and other souvenirs such as magnets and keychains. Organisations None. There is only a small "homemade" interpretation space dedicated to this practice at the Hotel El Tixileiro in Sisterna (Ibias). Places Currently, the only place is the workshop of Victor Garcia, called "La Guarida del Cunqueiro," which is located in Trabau, Degaña (temporarily closed). Artefacts Tools: The traditional tools used in this craft are quite simple and include axes, compasses, pencils, rulers, the lathe, and chisels. These are essential for shaping and carving the wood by hand, requiring a high level of skill. The lathe plays a key role in this process, allowing the practitioner to shape the wood into various forms. Machinery: The lathe, a crucial piece of machinery, can also be portable. It typically consists of a pedal made of leather strips and a flexible wooden branch. The lathe used by Victor Garcia was custom-made for him during his youth. It features a rectangular frame with several holes to place tools for convenience. The key component is the leather strap that connects to the flexible branch, allowing the piece of wood to rotate back and forth (like a seesaw). Additionally, there is a section with a hole and a fitting piece to secure the wood using pins, holding it in place while it is carved with chisels. Objects: Initially, the craft focused on creating tixelas (wooden tableware), but as these have become less practical today, the practice has diversified. Victor, Victorino, and Rosa now also create and sell musical instruments such as tambourines, pandeiros, and castanets. They also produce madreñes, traditional Asturian wooden shoes, and various souvenirs like magnets and keychains, reflecting the adaptation of the craft to contemporary needs and market demands. Technological Threats Description Substitution with other materials that are easier to work with, more ergonomic and hygienic to use than wood, and cheaper to produce on an industrial scale, such as earthenware. Policy Threats Description It doesn't seem that there is any conservation policy for the craft driven by public institutions, beyond the private initiative of Víctor García, who uses and promotes the craft as a driver of territorial development. Demographic Threats Description It's a vicious cycle; it's a remote rural area with poor communications, no public transportation, and few basic services (medical, supermarket, etc.), which leads people to migrate to the main cities in the area (Gijón, Avilés, Oviedo, Ponferrada, etc.). This results in a lack of sufficient population to invest in the sustainable development of services and infrastructure in the area. Without a population, which typically comes for the first half of August for the local festivals, it is difficult to make collective efforts to transmit and preserve the craft in relation to its logic within the territory. Weakened Practice Description The age of the practitioners is not a significant issue, as the current practitioner is 33 years old. However, the real concern is that there is only one person remaining who possesses this traditional knowledge, which poses a risk to the survival and continuity of the craft. Loss Threats Description What is being lost is the guild language they used (tixileiro or cunqueiro), as well as the knowledge of the techniques involved in the craft (such as when and which trees to fell, the drying time of the wood to improve its quality, the carving technique, how to create the lathe, etc.). There is also a loss of the significance linked to the territory, including the forests, transhumance, etc., that were integral to the practice. State of the practice endangered Social sustainability N/a. There is only one person alive with this knowledge. Environmental sustainability The practice contributes to environmental sustainability in several ways. The materials used are natural, renewable, and locally sourced. The wood comes from local forests, and efforts are made to avoid overexploitation, ensuring that only trees that are not optimal for other purposes are cut down. The practitioner is mindful of the type of wood needed for their work and prioritizes sustainable practices by cutting the "worst" trees, which are not expected to grow to their full potential, thus allowing healthier trees to thrive. The waste generated, including shavings and sawdust, is composted and repurposed for agricultural use or as fertilizer for reforestation projects, such as planting trees in degraded areas. In this way, the practice helps improve soil quality and encourages sustainable land management. In addition to these practices, the practitioner’s work does not require electricity for the crafting process itself, except for basic lighting to see while working. Natural light is usually sufficient during the day, reducing energy consumption. When electricity is needed, it comes from a standard power supply, and there is no need for energy-intensive machinery. The lack of a heating system in the workshop also reduces energy usage, supporting a low-energy, environmentally conscious approach to craftsmanship. This minimal reliance on electricity aligns with sustainable energy practices and reduces the carbon footprint of the work. Economic sustainability The practice does not significantly contribute to economic sustainability at present. The traditional craft of creating tixelas is no longer widely used, and as a result, these pieces have shifted to being more decorative rather than functional. In response to this decline, practitioners have diversified their products to include musical instruments, souvenirs, and other items. However, in order to sustain the craft, as noted by Víctor García, it is necessary to integrate it into other practices, adapt its uses, and particularly diversify income sources. This could include offerings such as tourism (workshops, tours, and classes), agriculture and livestock, and even tourism accommodation. By creating a multifaceted economic model, it would be possible to ensure a balance between sustainability and profitability for this craft in the specific region. Place The town or city El Bao (Il Bau) and Sisterna (Astierna) in Ibias; El Corralín (El Curralín) and Tablado (Trabáu) in Degaña (Asturias, Spain) Place Description Degaña, located in southwestern Asturias, has historically been linked to mining and rural life. Since Roman times, the territory was exploited for its gold deposits, and later, in the 19th and 20th centuries, coal became the main economic driver. Popular architecture and traditions reflect both Asturian and Leonese influences, and the municipality maintains a strong cultural identity based on language, music, and local festivities. The municipality is nestled in the Cantabrian Mountains and is part of the Fuentes del Narcea, Degaña, and Ibias Natural Park. Its mountainous landscape is home to beech and oak forests, with notable wildlife including the Cantabrian brown bear and the Iberian wolf. Nature is one of its main attractions, promoting rural and ecological tourism. Until the early 21st century, Degaña maintained a stable population and even stood out as one of the youngest in Asturias, with positive natural growth. However, the closure of mining operations has led to a sharp demographic decline, with the population decreasing by approximately 40%. Emigration has primarily been directed towards Oviedo, Gijón, Madrid, and other areas with better economic prospects. As a rural and historically isolated municipality, Degaña's economy was based on subsistence agriculture and livestock farming, with trade exchanges with the neighboring region of Laciana (León). Additionally, vaqueiros (nomadic herders) rented pastures for transhumant grazing. With the arrival of coal mining in the 19th and 20th centuries, the economy underwent a radical transformation, becoming the municipality’s main economic driver. However, following the decline of mining, livestock farming, forestry, and rural tourism have gained prominence in the local economy. Hunting and ecotourism are emerging as sustainable alternatives, although the municipality still faces challenges in curbing depopulation and generating economic opportunities. Regarding the tangible cultural heritage of Degaña, som Prim Media 1245 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Cunqueiru" or "tixileiru" handicraft Type The nature or genre of the resource Intangible Description An account of the resource 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 Creator An entity primarily responsible for making the resource 1195 Language A language of the resource Asturian,Spanish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 588 Source A related resource from which the described resource is derived asturiasmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. 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]. Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Artesanía cunqueira o tixileira Spatial Coverage Spatial characteristics of the resource. current,42.9407,-6.57125; Date Modified Date on which the resource was changed. 02/09/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 1191 Context Oral tradition within the Hebrides is one of the key areas explored within the residencies Jon is involved in. The differences between people having to speak in person to people to understand aspects of their culture differs greatly to online , digital, desk-based research. Other areas, specifically maritime heritage is explored within the Muir is Tuir residency - this again connects to oral story telling, but also craftmanship, music and ther social practices. The crofting community is also key to the residnecy experience - specifically in experiencing and understanding the surrounding landscape and how and why it has evolved as it has. Field Worker Netty Sopata Climate Actions Research,Community Engagement,Exhibitions on climate change,Educational programs,Collaboration with other organisations SDG Good Health and Wellbeing,Quality Education,Gender Equality,Decent Work and Economic Growth,Industry Innovation and Infrastructure,Sustainable Cities and Communities,Responsible Consumption and Production,Climate Action,Life Below Water,Life On Land External ID AAS_CP_05 Knowledge The coordination of Artist Residencies requires a deep and connected understanding of the landscape and cultural heritage within which the residency is to be held. For example, Jon has lived in the Isle of Lewis fro over twenty years. Throughout this time he has developed an indepth understanding of the local customs, language, landscape and seasons. He is also part of a community of artists and creative practitioners and understands the enrichment that an artist from outside that communtiy can bring to the Island(s) and vice-versa. Although planning and connectvity is key to facilitation, so to is the acceptence of serendipidity. For example, 'on paper' it may look as if a group of particular artists may work well together with a certain element of a residency, but in reality there may be unforseen conflicts. Likewise, a fine artist and a hebridean fisherman may, 'on paper' have very little to connect them, but in - person may bond, become life long friends and inspire each other to create different work. Knowledge Transfer Developing experience in coordinating residencies is an acculmulative processs. Very often artsits experience them as part of their own practice and then become involved in coordinating as part of larger projects. It is common pratcice in Soctland for many Art Centres to be involved in artist residencies. From a Craft practitoner perspective, Applied Arts Scotland has run a number or residencies in partnership with The British Council. Applied Arts Scotland also faciliates the skill transmission of the project management skills required to coordinate these, with new board members often shadowing more expereinced board members to understand the work involved (ASS CF 2025). Practitioners Developing experience in coordinating residencies is an acculmulative processs. Very often artsits experience them as part of their own practice and then become involved in coordinating as part of larger projects. It is common pratcice in Scotland for many Art Centres to be involved in artist residencies and to have desginated people employed to operate within that role (for example Jon's role in An Lanntair). Function 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 networking 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, heritage, language and customs. Origins and change Communication about opportunities is one of the key areas that has altered over time with residencies. Jon reflected in the interview on how, when he was at art school in the 1990s there was 'The Artist's News Letter' a very English led coordination / prommotion of opportnities. Now, different organisations promote different things and the style of the residencise have altered, they also differ within different countries, with some, for example in the Nordic countires being supportive of the Artist's families forming part of the residencies. The industry/cultural practice of residenices is a growth industry. Organisations Creative Scotland; Craft Scotland; Applied Arts Scotland; The Victoria and Albert Museum; Sail Britain and The Churchill Fellowship programme – UK charity which supports individual UK citizens to follow their passion for change, through learning from the world and bringing that knowledge back to the UK (Churchill 2025). Places An Lanntair - the local Arts Centre in Stornoway and Grianneabhat, a community centre in the ruaral area of Bragar, on the west coast of Lewis. Artefacts The final work generated by artists (if any) would be seen as artefacts, however, for this data input Jon provided: 'A Box of Tangible Prompts.' These are passed round on the boat to promt discussion. Marram Grass Root,Wool etc. See AAS_AR_14. Climate Threats Description All of these threats may/or may not be explored through artsists residencies. Economic Threats Description All of these threats may/or may not be explored through artsists residencies. Technological Threats Description All of these threats may/or may not be explored through artsists residencies. Policy Threats Description All of these threats may/or may not be explored through artsists residencies. Conflicts Description All of these threats may/or may not be explored through artsists residencies. Demographic Threats Description All of these threats may/or may not be explored through artsists residencies. Decontextualization Description All of these threats may/or may not be explored through artsists residencies. Globalisation Description All of these threats may/or may not be explored through artsists residencies. Weakened Practice Description All of these threats may/or may not be explored through artsists residencies. Loss Threats Description All of these threats may/or may not be explored through artsists residencies. State of the practice thriving Social sustainability Artist residencies introduce a different dialogue to the communities in which they are held, both geographically and within commuties of practice. Within the ecology of residencies, you cannot underestmate the social connection and significanace of them, nor the long term, positive impacts for social and mental well-being. Environmental sustainability Inspiring positive change for the ocean through sailing, ecology and the creative arts – Sail Britains strap line. Grainnabhat - Polycrubs. Local materials sourced from these for art workshops. Woad in the garden etc. Not importing art materials but being resourceful and susatinable. Economic sustainability The two organisations Jon works with are complimentary. One is rural, one is in the town. Accomodation is availbale at the rural venue (Grianneabhat). The interdependency of these organisations supports the economic sustainablity of both. Place The town or city Stornoway Harbour, Isle of Lewis, Scotland Place Description Stornoway or in Gaelic – Steòrnabhagh is the main town in the Isle of Lewis. With a popoultaion of just under 7,000 it is the main haulage and adminstartive hub for the Western Isles. A harbour town, the fishing industry has played a significant part in the history of Stornoway, particulary the herring boom of the late 19th and earlt 20th Century. Stornoway’s 'Herring Girls' earned a strong reputation for their skill, and the industry’s wealth helped shape the town into what it is today. At its height, Stornoway was one of the most important herring ports in Britain—if not Europe—with up to 1,000 boats crowding the harbour in summer (OHT 2025). Today, there are more leisure sailing boats in the harbour than there are fishing trawlers and last year, Stornoway Port Authority completed a new 'deep water port.' This has faciliated the growth of the cruise liner tourism industry leading to a visible change in the trading opportuiies within the town centre for local restaurants, cafes and gift shops. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artist Residency Type The nature or genre of the resource Intangible Description An account of the resource 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. Language A language of the resource Scottish Gaelic Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 576 Source A related resource from which the described resource is derived highlandandislands References A related resource that is referenced, cited, or otherwise pointed to by the described resource. 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 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 19/08/2025 Spatial Coverage Spatial characteristics of the resource. current,58.2073440491478,-6.387942772938831; Date Modified Date on which the resource was changed. 13/10/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 1184 Context Cutlers (Knife Makers) (BBC 2024) Cutlery and tableware making Field Worker Netty Sopata Economic Threats Insufficient renumeration Technological Threats Industrial production,Use of modern materials Weakened Practice Diminishing participation,Reduced practice Loss Threats Loss of knowledge,Loss of cultural significance SDG Responsible Consumption and Production External ID AAS_CP_04 Knowledge Different properties of metel blades - steel / stainless steel. The different angles required and the techniques required to achieve them. The different process that can be used: Leather strop / wet and dry / grinder. Paul uses the 'Wet Stone' process. To sharpen his knives takes about 2.5 hours. Starting withthe coursest grain stone and finishing with the smoothest. Knowledge Transfer Peer to peer learning for Chefs is one approach. It is not something that is necessarily taught within higher education environments for chefs and street vendor services / door to door services no longer exist in the UK. (or are very rare). Short courses in tool sharpening skills are available at some UK locations: https://sharpening-training.co.uk/about-us/ and Tom Banks, a Craft Practtioner in Aviemore, in the Cairngorms (Scotland) offers short courses in tool and knive sharpening: https://www.craftcourses.com/courses/tool-sharpening-workshop. Practitioners Chefs need to work with sharp knives and if a service is not provided for them they take on the role of the practice. Paul refelcted that he has only had four 'every day' knives in his career of 35 years. He has just bought a new knife and after 8 months is still getting used to it. Function The traditional 'knife sharpener' trade does not exist as it once did. The role, in the case of chefs is now practised by them. Alternatively, postal services for knive sharpening do exist: https://knifesharp.co.uk or https://bladeandbutler.co.uk/home Origins and change In the mid 20th century it was common practice for knife sharpners to be present as street vendors with grinding wheels. Alternativley some vendors would go door to door offering to sharpen knives. However, as mass production of stainless steel knives increased,, the demand for knife sharpeners decreased. The craft practice behind sharpening knives is however still very much used within the cullinary world, with different types of knives/blades requiring different methods of sharpening. Organisations Heritage Crafts; Sheffield Museums. Places https://www.craftcourses.com/ (associated with Heritage Crafts) is the foundation web page where Tom Banks advertises his tool sharpening course. Artefacts Knives (AAS_AR_12) and Wet and Dry Stones (AAS_AR_13). Technological Threats Description Change in knife production methods and materials used, has reduced the demand for knive sharpeners Weakened Practice Description Change in knife production methods and materials used, has reduced the demand for knive sharpeners BUT Chefs and other tool users still require sharp knives and tools. The craft practcie has become internalised with separate disciplines. State of the practice stable Social sustainability No Environmental sustainability Yes. If knives are purchased with the intention of retaining their quality and looking after them then the purchase is far more sustainable than repeatedly replacing the knife with a new purchase. However, knives to chefs are their main tool and so they uderstand the significance of the investment in purchasing ones of high quality. Mainstream consumers do not always recognise this. Economic sustainability The practice contributes to chefs being able to maintain their equipment which is more economically viable for them. For craft practtioners such as Tom Banks, the process of teaching people how to sharpen blades provides a diversification of income. Place The town or city Ness, Isle of Lewis, Outer Hebrides Place Description Ness is within the community owned, Galson Estate, consisting of 56,000 acres of coast, agricultural land and moor in the North West of the Isle of Lewis in the Outer Hebrides of Scotland. The estate comprises of 22 villages running from Upper Barvas to Port of Ness with a population of nearly 2,000 people. The estate passed into community ownership on 12 January 2007, to be managed on their behalf by Urras Oighreachd Ghabhsainn (https://www.galsontrust.com) The area is rural, with a strong cultural heritage centered around the gaelic language, traditional music and crofting https://www.crofting.scotland.gov.uk. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Knive Sharpening Type The nature or genre of the resource Intangible Description An account of the resource 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. Language A language of the resource English Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 573 Source A related resource from which the described resource is derived highlandandislands References A related resource that is referenced, cited, or otherwise pointed to by the described resource. 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 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 19/08/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Cutlers (Knife Makers) Spatial Coverage Spatial characteristics of the resource. current,58.4733720257218,-6.283909406745984; Date Modified Date on which the resource was changed. 13/10/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 1128 External ID UNIOVI_CP_01 State of the practice thriving Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Wood_craft Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wood craft Type The nature or genre of the resource Intangible Creator An entity primarily responsible for making the resource 708 Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 552 Source A related resource from which the described resource is derived asturiasmap Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 18/08/2025 Spatial Coverage Spatial characteristics of the resource. current,43.3335455978306,-5.5446023832244; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context Oral story telling traditions and the gaelic language. Many of the traditional Melodeon songs from Ness were written by men away at sea and depict a sense of longing for home. The illegal drinking ‘Bothans’ of the 1940’s onwards in the Western Isles also facilitated a social environment where the Melodeon was played and stores were told. In a recent Fèis, young musicians were taken on a tour of the old, disused ‘Bothans’. See below for a link to the article. Field Worker Netty Sopata Climate Threats Deterioration of space Economic Threats Insufficient financial resources,Insufficient renumeration,Increased income disparity,Rapid economic transformation,Arduous training Policy Threats Educational standardisation Demographic Threats Rural-urban migration,Population Influx Decontextualization Touristification Globalisation New pastimes,Rapid sociocultural change Weakened Practice Aged practitioners,Diminishing participation,Reduced practice Loss Threats Loss of ancestral language,Loss of cultural spaces,Loss of knowledge,Loss of cultural significance Climate Actions Research,Community Engagement,Educational programs,Collaboration with other organisations SDG Quality Education,Gender Equality,Affordable and Clean Energy,Decent Work and Economic Growth,Industry Innovation and Infrastructure,Reduced Inequalities,Sustainable Cities and Communities,Life On Land External ID AAS_CP_03 Knowledge The interviewee learnt to pay the Melodeon unformally as a young child. An uncle bought one home to the island after working away on the mainland. Songs were learnt ‘by ear’ and not taught through learning to read sheet music. Knowledge Transfer Taigh Dhonnchaidh (TD)(The House of Donald)https://www.taighdhonnchaidh.com focuses on providing a place for the Ness Melodeon band to practice and to hold lessons for children. Local and National MOD competitions are also held. https://www.ancomunn.co.uk/nationalmod Practitioners There are no specific roles with the Ness Melodeon Band when they practice or perform. There is however a committee who run TD, some of whom are band members. There are no defined gender related roles but traditionally Melodeon players were male. There is one female member in the band and an increasing number of young female players progressing through TD. Function A sense relaxation and well being after playing every Thursday is always felt. The social cohesion and laughter from playing and practicing together as a band..The Thursday evening sessions at Taigh Dhonnchaidh are open to anyone who wants to attend, musical or not. Origins and change The Melodeon Player – Roddy Martin had an understanding of the instruent being played frequently in the 1920s/1930s and recalls seeing old photographs of people heading off on the may or August holidays – always with someone carrying a Melodeon, the ‘rock stars’ of their time. The regularity with which the Meloedeon is used in un-organised social settings has altered, with the ceasation of the ‘bothans’ (illegal dringing dens)and the introduction of licsenced premises. Organisations Fèisean nan Gàidheal https://www.feisean.org/en/, Bòrd na Gàidhlig https://www.gaidhlig.scot/en/ Places Taigh Dhonnchaidh, The Clan MacQuarrie Community Centre, Communn Eachdraidh Nis (The Ness Historical Society). Artefacts Melodeon AAS_AR_11I1 / I2/I3 and Videos: AAS_AR_11 How to Play Melodeon. Climate Threats Description Taigh Dhonnchaidh was given to the community by Duncan ‘Major’ Morrison a musician and local teacher. In 1990 it was renovated and although in use now requires extensive maintenance. Additonal space is also required to facilitate storage of instruments and lessons / performances. Architecture plans have been drafted fro an extension and renovation, and the committee are currently fundraising money to complete the work. Economic Threats Description Melodeon Playing is seen as an additional form of income, not main one. Policy Threats Description Resources to teach Music as a subject in schools have been significantly reduced over the decades. Within Ness the local primary schools pupils (5 – 12yrs of age) only have access to traditional music tuition through the work carried out by Taigh Dhonnchaidh. Demographic Threats Description The Western Isles have a decreasing population size and an increasing age demographic. This is due in part to young people moving away and remaining on the mainland where more options exist to earn higher levels of income. The other contributing factor are older, wealthier people moving into the community from the mainland, attracted by the comparative high levels of service provision in healthcare and lower property prices in areas that offer a higher standard of living. These deomographic alterations have also led to a reduction in Gaelic speakers, particulary within domestic environments. Decontextualization Description The cruise ship industry has just started to become established in the Western Isles and local, rural communities have been keen to capitilise by organising events in rural areas that passengers can pay to attend. This year a ‘Cruise Ceilidh’ was held at the local Social Club for such passengers. Ness Melodeon Band played at the event and it was a great success. At the second event, a younger, new band played (with a mixture of traditional instruments and all of who had learnt at Taigh Dhonnchaidh), again the event was well received and provided some much needed income for these volunteer-led organisations. Globalisation Description These deomographic alterations identified above has led to a reduction in Gaelic speakers, particulary within domestic environments. This has an impact on the evolution of oral story telling, place names and songs. There are however, some younger, Gaelic speaking musicians researching, retaining and amplifying oral story telling though song. In addition there is a strong traditonal music scene in Scotland inclusive of Melodeon players. Weakened Practice Description The Ness Meldoeon Band consists predominantly of men over 60 years of age, with one female in her 40s. Because of the work that Taigh Dhonnchaidh have done over the past thirty years there is however a foundation of younger players. But, because the children have learnt in a formal way and not ‘by ear’ they all ‘sound’ the same. It is the belief of the Melodeon player interviewed however, that once these younger players gain confidence and experiment with their technique they will also develop their own, unique sound. Although there is a reduction in practice it is a valued cultural practice in Ness and the Western Isles. Loss Threats Description As per comments above. Although there is a Gaelic Medium education system this ‘formal’ Gaelic does not have the nuances of Gaelic dialects from specific areas within the Western Isles. Traditional Ness Gaelic for example is very different to the Gaelic spoken in Barra. State of the practice stable Environmental sustainability Taigh Dhonnchaidh has solar panels installed for heating and hot water. Economic sustainability Although playing a Melodeon forms only a secondary income for most players it can still be seen as a diversification of income for some. The transition to perform for cruise liner passengers is also a new diversification. Place The town or city Taigh Dhonnchaidh, Habost, Port of Ness, Isle of Lewis, Scotland, HS20TG Place Description In 1999 Taigh Dhonnchaidh was renovated and converted into a Gaelic arts and music centre, with a strong focus on traditional elements of the local culture. The new arts centre was officially opened on 24 July 2000. Each Easter the venue hosts a ‘finis’ - a Gaelic music and cultural festival - offering tuition in instrumental music, as well as Gaelic singing, drama and art. Instrumental classes also run throughout the school session. In addition, various ceilidhs, storytelling evenings and other community events are held throughout the year and the premises is also the base for the Ness Melodeon Band. Ness is within the community owned Galson Estate, consisting of 56,000 acres of coast, agricultural land and moor in the North West of the Isle of Lewis in the Outer Hebrides of Scotland. The estate comprises of 22 villages running from Upper Barvas to Port of Ness with a population of nearly 2,000 people. The estate passed into community ownership on 12 January 2007, to be managed on their behalf by Urras Oighreachd Ghabhsainn (https://www.galsontrust.com) The area is rural, with a strong cultural heritage centered around the gaelic language, traditional music and crofting https://www.crofting.scotland.gov.uk.   Prim Media 1143 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Melodeon Player Type The nature or genre of the resource Intangible Description An account of the resource 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. Language A language of the resource Scottish Gaelic Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 534 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. 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. Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 11/08/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Box Player’ Spatial Coverage Spatial characteristics of the resource. current,58.484554,-6.25749941; Date Modified Date on which the resource was changed. 13/10/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 1072 Context Gaelic Language, oral story telling, maritime history. Field Worker Netty Sopata Climate Threats Deterioration of material Economic Threats Insufficient financial resources,Arduous training Policy Threats Lack of conservation policy,Educational standardisation Weakened Practice Aged practitioners,Reduced practice Loss Threats Loss of ancestral language,Loss of knowledge,Material shortage Climate Actions Community Engagement,Collaboration with other organisations SDG Responsible Consumption and Production External ID AAS_CP_02 Knowledge Extensive. An understanding of the traditional wooden boat building techniques and ability to apply them through thousands of hours of practice. The sequence in which the techniques need to applied and how to accommodate solo working to accomplish the highest quality. There is an aesthetic quality to wooden boats but fundamnetally thay are a functional item used to carry people in water. The traditonal wooden 'Sgoths'. that Mark can build from start to finish, or repair, are used for sailing in some of the most challenging sea areas in Scotland. There is a particular skills focus on how to work with the different types of wood used in traditional boat building in Scotland: Larch and Oak. 'Roving' is the technique this data input is focusing on in detail. In a new- build this requires the oak made 'ribs' of the boat to be steamed, applied and fixed to a planked mould. Copper nails are then hammered through pre - marked and drilled holes. The oak is only workable for 15 seconds post steaming and these permits the fixing of the nails through the oak without resistence. Once pushed through, copper rivets are used to fix the copper nails in place. 'Roving' also takes place during the replacement of planks in restoration work - it is this process that was captured on video and in photographs to document this cultural practice. (The steaming element of the ribs was not required during this restoration stage - the original holes were use). Knowledge Transfer In the past Mark Stockl ran a Boat Building course at Plockton High School form 2007 to 2023. Although highly successful this was withdrawn form the school curriculum by the local authority due to the costs involved. Out with apprenticeships, there is one boat building school in the United Kingdom that focuses on tradtional, wooden boat building skills: The Boat Building Academy and Furniture School in Lyme Regis. This has a City and Guilds, Level Three Diploma (Advanced) embedded within the intensive course delivered over forty weeks. Practitioners Traditional boat builders are the main bearers and practioners of this practice. There are no specific roles or catgeories for'boat buulding' at an independent, bespoke level. The roving technique requires two people to work together but the majority of the boat building process, using the methods that Mark uses, occur with just one practitioner. Function The traditional wooden 'Sgoths' reffered to above have a cultural significance in the retention and amplification of the gaelic language and maritime history. Falamadair proactivelt restroes and maintains the Sgoths under it's guardianship and interacts with other organisations to promote the heritage connected to them. Fèis na Fairge is a maritme festival organised by Urras Oighreachd Ghabhsainn (Galson Estate) to celebrate the maritime history of teh North of Lewis. The restoration work on the 'Sgoths' completed by Mark contributes significantly to their preservation. Origins and change Wooden fishig boats were used for line fishing during the 19th century but as this industry died out in the Western Isles, the number of wooden boats being built reduced. Some of the tools used remain the same and soe have been repaced with faster alternatives i.e for the 'Roving' hand drills have been replaced with battery operated drills. Organisations Falamadair - The North Lewis Maritime Trust. Comunn Eachdraidh Nis / Ness Historical Society and Urras Oighreachd Ghabhsainn (Galson Estate). Places As above. Artefacts As listed: AAS_AR_06 (Replica Sgoth built by Mark Stockl) and AAS_AR_10 (Clinker under rennovation). Also a battery operated hand drill (AAS_AR_09). For the roving process the drill is required to drill the holes to place/push the copper nails through ready fro the rivet to be fixed. Climate Threats Description In AAS_PR_002(INTVW) Mark makes reference to Scottish Larch (the wood required for the planks in wooden boat building) being used more intensivley by Architects and thus the construction industry. Economic Threats Description There is only one location individuals can currently attend to learn traditional boat building techniques in the U.K. The costs of doing so (£18K for 40 Weeks) is prohibiitve to majority of young people, particulary if they are from a disadvantaged background. Apprenticeships for sole practitioners (such as Mark) are prohibitive to negotiate due to costs and health and saftey guidlines that are required. This coupled with reduced spend capacity of local authorities limts access to learning thes traditonal skills to those that can afford to do so. Policy Threats Description There is only one location individuals can currently attend to learn traditional boat building techniques in the U.K. The costs of doing so (£18K for 40 Weeks) is prohibiitve to majority of young people, particulary if they are from a disadvantaged background. Apprenticeships for sole practitioners (such as Mark) are prohibitive to negotiate due to costs and health and saftey guidlines that are required. This coupled with reduced spend capacity of local authorities limts access to learning thes traditonal skills to those that can afford to do so. Weakened Practice Description There is only one location individuals can currently attend to learn traditional boat building techniques in the U.K. The costs of doing so (£18K for 40 Weeks) is prohibiitve to majority of young people, particulary if they are from a disadvantaged background. Apprenticeships for sole practitioners (such as Mark) are prohibitive to negotiate due to costs and health and saftey guidlines that are required. This coupled with reduced spend capacity of local authorities limts access to learning thes traditonal skills to those that can afford to do so. Loss Threats Description The maritime festivals are great way of amplifyin the anceteral language, knowledge and stories asscociated with traditonal wooden boat buulding ( sailing). But, these are not public policy. State of the practice stable Social sustainability Yes - by supporting the work of Falamadair. Environmental sustainability Yes. All the wood souced in the processes used by Mark is sourced in Scotland. The techniques are traditional so there is very little waste generated. Economic sustainability Mark's work provides an income for him. Some of the boats he builds / repairs are used by estates to faciliate fishing (leisure). The estates generate an income from fishing. Place The town or city 3 Loggie, Ullapool Place Description Ullapool is a small fishing harbour on the west coast of Scotland. It is also a gateway to the Western Isles for freight, tourism and island residents. Traditional fishing vessels on the west coast of Scotland were built from wood. Although the modern day 'trawlers' no-longer resemble these vessels, working examples of traditional wooden vessels do exist today, some in community trusts and some in private ownership. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Traditional Boat Building: Copper Roving Type The nature or genre of the resource Intangible Description An account of the resource 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. Creator An entity primarily responsible for making the resource 860,243 Language A language of the resource English Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 533 Source A related resource from which the described resource is derived highlandandislands References A related resource that is referenced, cited, or otherwise pointed to by the described resource. 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]. Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 11/08/2025 Spatial Coverage Spatial characteristics of the resource. current,57.8644615848094,-5.121928998; Date Modified Date on which the resource was changed. 13/10/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 1070 Context None Known Field Worker Netty Sopata Technological Threats Industrial production Policy Threats Educational standardisation Weakened Practice Aged practitioners Loss Threats Loss of knowledge External ID AAS_CP_01 Knowledge Extensive skill and ability to handle the clay by shaping and pulling it into the desired form and thickness. AAS_PR_001 uses thi technique for her mugs and durig her interview reflected on how each mug made using this technique means that it will sit comfortable in a persons hand. Many of her customers come into her shop and test out mugs to make sure the handle is correct for them. Knowledge Transfer This technique can be taught but it very much trial and error and practice that perfects it. There are alternative and faster methods of making the handles for mugs but thes edo not produce the level of quality that hand pulling does. Practitioners Potters who currently practise the technique. Function AAS_PR_001 takes pride that her mugs and other items of an extremly high quality. Over the decades she has perfected a balance of design and production speeds that generate feasable products for retail driectly to consumers. This has bee done without comprimising on the bespoke, specilaist techniques that add cultural value to hand made products. A handle made by hand and pulled by hand fits the hand. Origins and change This technique is one of the oldest used for making handles in pottery and dates back to medieval times. Organisations Scottish Potters Association. Heritage Craft Association. Places Borgh Pottery; Leach Pottery St.Ives Artefacts AAS_AR_01 - 05 are all related to the process of pulling a handle by hand. The clay is needed to make the product, the Pugmill to process the clay and the potter's wheel to throw the body of the mug. The kilns are then needed to fire the finished mugs and turn them into pottery. The only tools needed to pull a handle by hand (once the clay has been prepped) are the makers hands. Technological Threats Description Modern production of pottery is always a threat to maintaining skills that do not fit with fast production times. Policy Threats Description Access to the level of education AAS_PR_001 received has reduced significantly. Weakened Practice Description The practice of Pulling a Handle by hand is one that requires demonstration and practice. Although many 'YouTube' videos exist for people to learn from, this does not replace the experence of being taght in a tangible way with intangible knowledge being passed on from a master practitioner to a learner. Loss Threats Description The practice of Pulling a Handle by hand is one that requires demonstration and practice. Although many 'YouTube' videos exist for people to learn from, this does not replace the experence of being taght in a tangible way with intangible knowledge being passed on from a master practitioner to a learner. State of the practice stable Social sustainability No Environmental sustainability No Economic sustainability The technique is a USP (unique selling point). It is a good point of conversation with customers when they examining the mugs. Place Description Borgh is a vilage that sits within Galson Estate which consists of 56,000 acres of coast, agricultural land and moor in the North West of the Isle of Lewis in the Outer Hebrides of Scotland. The estate comprises of 22 villages running from Upper Barvas to Port of Ness with a population of nearly 2,000 people. The estate passed into community ownership on 12 January 2007, to be managed on their behalf by Urras Oighreachd Ghabhsainn (https://www.galsontrust.com) The area is rural, with a strong cultural heritage centered around the gaelic language, traditional music and crofting. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mug Making – Pulling the Handle by Hand Type The nature or genre of the resource Intangible Description An account of the resource 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. Language A language of the resource English Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 532 Source A related resource from which the described resource is derived scotlandobjects References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Leach Pottery What is Pulling Hands . (2025 , July 29 ). Retrieved from You Tube : https://www.youtube.com/watch?v=5I_JVtf__e8 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 11/08/2025 Spatial Coverage Spatial characteristics of the resource. current,58.41727124,-6.435816483466189; Date Modified Date on which the resource was changed. 02/09/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Workshop End Date 2025-10-31 Author iain Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Helmsdale - Rural Spot Type The nature or genre of the resource Workshop Date A point or period of time associated with an event in the lifecycle of the resource 2025-10-31 Contributor An entity responsible for making contributions to the resource iao@st-andrews.ac.uk Identifier An unambiguous reference to the resource within a given context 525 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 08/05/2025 02:34:28 pm Spatial Coverage Spatial characteristics of the resource. current,58.11661608479832,-3.6542107164859776; Date Modified Date on which the resource was changed. 08/05/2025 02:35:00 pm Source A related resource from which the described resource is derived ruralspots Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Workshop End Date 2025-05-15 Author iain Prim Media 940 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Värmland - Rural Spot Type The nature or genre of the resource Workshop Date A point or period of time associated with an event in the lifecycle of the resource 2025-05-15 Contributor An entity responsible for making contributions to the resource iao@st-andrews.ac.uk Identifier An unambiguous reference to the resource within a given context 524 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 08/05/2025 02:11:22 pm Spatial Coverage Spatial characteristics of the resource. current,59.656813999297405,12.890707254409792; Description An account of the resource 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. Date Modified Date on which the resource was changed. 08/11/2025 09:46:42 am Language A language of the resource Swedish Source A related resource from which the described resource is derived ruralspots Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturalityproject.eu/2025/06/16/region-varmland-ruralspot-round-up/ Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Workshop End Date 2025-06-20 Author iain Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zarreu - Rural Spot Type The nature or genre of the resource Workshop Date A point or period of time associated with an event in the lifecycle of the resource 2025-06-20 Contributor An entity responsible for making contributions to the resource iao@st-andrews.ac.uk Identifier An unambiguous reference to the resource within a given context 519 Source A related resource from which the described resource is derived ruralspots Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 08/05/2025 01:45:20 pm Description An account of the resource 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. Date Modified Date on which the resource was changed. 08/05/2025 02:21:17 pm Spatial Coverage Spatial characteristics of the resource. current,42.9457644,-6.4916708; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Rendition Prim Media 968 State of the practice thriving Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Sirli_audio_ny Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sirli_audio_ny Type The nature or genre of the resource Rendition Language A language of the resource Swedish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 506 Source A related resource from which the described resource is derived ruralspots,ruralvarmland,varmlandmap Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 05/08/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Rendition Prim Media 960 State of the practice thriving Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/om_företaget_och._vad_therese_erbjuder Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource om företaget och. vad therese erbjuder Type The nature or genre of the resource Rendition Language A language of the resource Swedish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 502 Source A related resource from which the described resource is derived ruralspots,ruralvarmland,varmlandmap Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 05/08/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Rendition Prim Media 948 State of the practice thriving Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource färg Type The nature or genre of the resource Rendition Language A language of the resource Swedish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 496 Source A related resource from which the described resource is derived ruralspots,ruralvarmland,varmlandmap Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 05/08/2025 Date Modified Date on which the resource was changed. 19/09/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible State of the practice thriving Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Tinsmithing Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tinsmithing Type The nature or genre of the resource Intangible Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 492 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 28/07/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible State of the practice thriving Prim Media 114 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pulled Warp Type The nature or genre of the resource Intangible Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 487 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 24/07/2025 Date Modified Date on which the resource was changed. 28/07/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible State of the practice thriving Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Yarn_Making Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Yarn Making Type The nature or genre of the resource Intangible Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 486 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 24/07/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/8c4b7e1a1199e73906a005b1b90fe33f.png 2b824c36e76fbaddaf22b5914e2ca3a7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Tour Author iain Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Mark_Stockl_Boat_Shed_Tour Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mark Stockl Boat Shed Type The nature or genre of the resource Tour Contributor An entity responsible for making contributions to the resource iao@st-andrews.ac.uk Publisher An entity responsible for making the resource available VERAPlatform License A legal document giving official permission to do something with the resource. Creative Commons Attribution License Identifier An unambiguous reference to the resource within a given context 484 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 07/24/2025 12:37:33 pm Spatial Coverage Spatial characteristics of the resource. current,57.8644615848094,-5.12192899763092; Creator An entity primarily responsible for making the resource Sue Blair Date Modified Date on which the resource was changed. 09/18/2025 10:50:34 am Source A related resource from which the described resource is derived studio Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/uv/uv.html#?manifest=https://culturality.museum/galleries/manifest.php?id=865 https://culturality.museum/omeka/files/original/a44473c47bbcea385c46addf64d25bd4.png c7b2e67bea134494e801be3896b6fd6b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Tour Author iain Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Dvorec_Visoko,_Skofja_Loka,_Slovenia_Tour Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dvorec Visoko, Skofja Loka, Slovenia Type The nature or genre of the resource Tour Contributor An entity responsible for making contributions to the resource iao@st-andrews.ac.uk Publisher An entity responsible for making the resource available VERA Platform License A legal document giving official permission to do something with the resource. Creative Commons Attribution License Identifier An unambiguous reference to the resource within a given context 475 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 07/16/2025 03:30:15 pm Spatial Coverage Spatial characteristics of the resource. current,46.1269267,14.2075659; Date Modified Date on which the resource was changed. 09/19/2025 04:16:58 pm Source A related resource from which the described resource is derived studio,uppercarniola Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://openvirtualworlds.viewin360.co/share/collection/71S1V?logo=0&info=0&fs=1&vr=1&sd=1&initload=0&thumbs=1 Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews https://culturality.museum/omeka/files/original/df333f2a1ba9f7494f6ce7790bda84a4.png 64b8f43fbd9f5a1df645bd07774625d5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Tour Author iain Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Krmelj_Blacksmiths,_Škofja_Loka,_Slovenia_Tour Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Krmelj Blacksmiths, Škofja Loka, Slovenia Type The nature or genre of the resource Tour Contributor An entity responsible for making contributions to the resource iao@st-andrews.ac.uk Publisher An entity responsible for making the resource available VERA Platform License A legal document giving official permission to do something with the resource. Creative Commons Attribution License Identifier An unambiguous reference to the resource within a given context 474 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 07/16/2025 10:29:44 am Spatial Coverage Spatial characteristics of the resource. current,46.1275861,14.2291254; Date Modified Date on which the resource was changed. 09/19/2025 04:15:02 pm Source A related resource from which the described resource is derived studio,uppercarniola Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://openvirtualworlds.viewin360.co/share/collection/71S18?logo=0&info=0&fs=1&vr=1&sd=1&initload=0&thumbs=1 Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews https://culturality.museum/omeka/files/original/978b7acbfe1019d4ce5ffb16cab78c77.png b36fa50c6867c2fb9596d993cd3f32e0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Tour Author iain Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Atelje_Amuse,_Škofja_Loka,_Slovenia_Tour Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Atelje Amuse, Škofja Loka, Slovenia Type The nature or genre of the resource Tour Contributor An entity responsible for making contributions to the resource iao@st-andrews.ac.uk Publisher An entity responsible for making the resource available VERA Platform License A legal document giving official permission to do something with the resource. Creative Commons Attribution License Identifier An unambiguous reference to the resource within a given context 473 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 07/15/2025 02:23:29 pm Spatial Coverage Spatial characteristics of the resource. current,46.1662669,14.3070997; Date Modified Date on which the resource was changed. 09/19/2025 04:14:25 pm Source A related resource from which the described resource is derived studio,uppercarniola Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://openvirtualworlds.viewin360.co/share/collection/71S1T?logo=1&info=0&fs=1&vr=1&sd=1&initload=0&thumbs=1 Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews https://culturality.museum/omeka/files/original/5aabd56b78a7646fe863eaf8bcfde237.png 50d07142bc97b8e44f6e76cffb7910d0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Tour Author iain Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Rokodelski_Arts_and_Crafts_Centre_Škofja_Loka,_Slovenia_Tour Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rokodelski Arts and Crafts Centre Škofja Loka, Slovenia Type The nature or genre of the resource Tour Contributor An entity responsible for making contributions to the resource iao@st-andrews.ac.uk Publisher An entity responsible for making the resource available VERA Platform License A legal document giving official permission to do something with the resource. Creative Commons Attribution License Identifier An unambiguous reference to the resource within a given context 472 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 07/15/2025 02:19:43 pm Spatial Coverage Spatial characteristics of the resource. current,46.1649552,14.306609; Date Modified Date on which the resource was changed. 09/19/2025 04:13:27 pm Source A related resource from which the described resource is derived studio,uppercarniola Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://openvirtualworlds.viewin360.co/share/collection/71S11?logo=1&info=0&fs=1&vr=1&sd=1&initload=0&thumbs=1 Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews https://culturality.museum/omeka/files/original/205d87b81dbb28624d0a0a7e8f07959c.png 8c01f07932b77c5f0c3766ea0018e3ec Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Tour Author iain Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Butt_of_Lewis_Lighthouse_Tour Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Butt of Lewis Lighthouse Type The nature or genre of the resource Tour Contributor An entity responsible for making contributions to the resource iao@st-andrews.ac.uk Publisher An entity responsible for making the resource available VERA Platform License A legal document giving official permission to do something with the resource. Creative Commons Attribution License Identifier An unambiguous reference to the resource within a given context 469 Source A related resource from which the described resource is derived highlandandislands,tours Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 07/10/2025 11:15:38 am Spatial Coverage Spatial characteristics of the resource. current,58.5153848,-6.2612711; Description An account of the resource 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. Date Modified Date on which the resource was changed. 08/08/2025 03:25:49 pm Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://openvirtualworlds.viewin360.co/share/collection/7ZPdW?logo=1&info=0&fs=1&vr=1&sd=1&initload=0&thumbs=1 Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews https://culturality.museum/omeka/files/original/03fa9b502d6bbe85fce12f0c8892a95c.png 5ed805da415a5694d4ee378e6b99c554 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Tour Author iain Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Borgh_Pottery_Studio_-_Sue_Blair_Tour Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Borgh Pottery Studio - Sue Blair Type The nature or genre of the resource Tour Contributor An entity responsible for making contributions to the resource iao@st-andrews.ac.uk Publisher An entity responsible for making the resource available VERA Platform License A legal document giving official permission to do something with the resource. Creative Commons Attribution License Identifier An unambiguous reference to the resource within a given context 468 Source A related resource from which the described resource is derived highlandandislands,studio,tours Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 07/10/2025 11:12:36 am Spatial Coverage Spatial characteristics of the resource. current,58.4170895,-6.4358839; Description An account of the resource For five decades, Sue Blair has made unique ceramics interpreting the raw elements of the landscape in simple, striking forms. Date Modified Date on which the resource was changed. 08/08/2025 03:35:48 pm Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://openvirtualworlds.viewin360.co/share/collection/7ZPdV?logo=1&info=0&fs=1&vr=1&sd=1&initload=0&thumbs=1 Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 826 Material Iron Natural Cultural Cultural Creation Purpose Kitchenware Technique Casting Field Worker Enrique Meléndez Galán Craft metalwork Place The town or city Caen River Valley Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cauldron Type The nature or genre of the resource Physical Object Description An account of the resource 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. Date A point or period of time associated with an event in the lifecycle of the resource Pre-Clearances Period Subject The topic of the resource PEOPLE,SOCIAL HISTORY Extent The size or duration of the resource. 25cm x 39cm x 24cm Contributor An entity responsible for making contributions to the resource melendezenrique@uniovi.es Identifier An unambiguous reference to the resource within a given context 464 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 03/07/2025 Spatial Coverage Spatial characteristics of the resource. current,58.11674313741047,-3.6540791598452014;origin,58.14590325384175,NaN; Date Modified Date on which the resource was changed. 17/03/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT metalwork Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 733 Context There's clear realtions to other practices. Most straight-forward being the wood craft that's needed for the tools of weaving, and secondly the crafts that can be made from the fabric such as folk costumes for example. Field Worker Ulrika Jäger, Sara Olsson Economic Threats Insufficient renumeration Technological Threats Use of modern materials Weakened Practice Halted transmission between generations SDG Decent Work and Economic Growth,Sustainable Cities and Communities,Responsible Consumption and Production External ID RV_CP_03 Knowledge Weaving on a heddle requires less skill than a loom, which in turn requiers quite a lot of knowledge to be able to thread and use. Far most common way to learn is in tradition from a practitioner, and at this is nowadays usually done in a course format. Vocational schools with textile focus and some textile universities are teaching handweaving. A decline in hand weaving at higher educational levels were experienced at the later half of the 1900 century in Sweden, but noticeably some schools never removed their hand looms from the classrooms and these days weaving is becoming more popular. Knowledge Transfer See above. Also a lot of transmission are done between practitioners themselves. Sweden has a quite strong culture of local weaving associations where women are meeting to weave. There has been a trend the last decade or so of these weaving spaces to be used in different ways, for example for study associations to remake them into pottery studios, as pottery is becoming increasingly popular in Sweden. For the younger generation it's Practitioners Today most of the practitioners in handweaving are women, but this is not a female activity exclusively, and it hasn't been historically either. Most of the practitioners today are older women. As looms take up much space and the craft can be quite time consuming, many weavers who weave for fun have to have a lifestyle and livingconditions where that is possible. Younger textile designers/artisans are learning from men and women in higher degree schools. Function Vävstugor, (lit. Weaving cabins") are common meeting groups for women who weave. (Found for example here: https://hemslojdsguiden.se/textil/vavstugor/) Usually this functions as a study association or volounteer association where a space is rented (or owned) and the members pay a fee to weave on the looms. There transmissions and learning are done peer-to-peer. The social aspect of the arrangements are usually very important to the members Origins and change The history of weaving in the greater picture of things is one thing, but the traditional patterns used in Sweden have different dates, but for example the rosepath pattern that Henner weaves is a technique that have been used in Scandinavia since the 18th century. Organisations Riksvävarna: https://www.riksvav.se/, Svenska Vävrådet: https://www.svenskavav.com/, Sätergläntan - institutet för slöjd och hantverk: https://www.saterglantan.se/ Places Like mentioned above, there's "vävstugor" where the craft is practiced. In Sweden there are hundreds of these spaces. Every three years, Europe's larges weaving fair (Vävmässan) is arranged in Sweden by Svenska Vävrådet (The Swedish Weaving Council) Artefacts All textiles that have been woven in the home. Also applied arts and cloth for clothes. Each of the hand weaving techniques are used for different types of fabric. State of the practice declining Social sustainability As the textile production of the world is associated with serious social issues, each textile product needed that is produced in an ethical way could be said to contribute to social sustainability. Environmental sustainability As the textile production of the world is a large culprit in i.a. monocultures and pollution to name a few, the handweaving practice is something essentially separate in its practice. Place The town or city Brunskog, Värmland, Sweden Place Description Brunskog, Arvika and the west parts of Värmland is a region where art and handicrafts have a long and strong tradition and that’s still largely present today. At the turn of the century 1900’s, many Swedish artists came to the area and an artists' colony, Rackstadkolonin, was established. The new ideas and expressions these artists brought with them along with the well-established and skilled craftsmanship that already existed here have contributed to the well-known arts and crafts area Arvika is today. The arts and crafts are greatly appreciated here by both practitioners, residents and visitors and are seen as a great asset and strong brand for the area. Arvika is a town of about 14.000, and the municipality has about 25.000 habitants. Brunskog's parish has about 2.000 inhabitants. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Handweaving Type The nature or genre of the resource Intangible Description An account of the resource 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. Creator An entity primarily responsible for making the resource 705 Language A language of the resource Swedish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 414 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. 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 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 19/06/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Handvävning Spatial Coverage Spatial characteristics of the resource. current,59.6574488,12.890542; Date Modified Date on which the resource was changed. 19/06/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 728 Context The technique similarly uses the qualities of wool as in fulling woven fabric (in Sweden usually vadmal/wadmal) in mills or manually with or without chemical agents. Field Worker Ulrika Jäger, Kajsa Stinnerbom Economic Threats Insufficient renumeration Technological Threats Use of modern materials Climate Actions Infrastructure Development,Research,Collaboration with other organisations ,Governance management and green policies SDG Decent Work and Economic Growth,Responsible Consumption and Production External ID RV_CP_02 Knowledge Knowledge of wool, and how to handle and process wool - from carding to felting to finished product. Knowledge Transfer It's possible to learn from courses, during textile educations, but also from doing not-on site courses, through video online and litterature - provided that you try it and practice. Practitioners It's a female dominated crafting technique. It's connected to the rural areas where the sheep and wool have been naturally more accessible. Felting is quite popular, and there's also carded wool and coloured wool in hobby stores in Sweden to purchase. Function Haglund has taugh felting for all children in year 4 (ages 10) in the town of Kil. What the children have made will be shown at the Fårfest event in Kil. Felting is a quite common activity at preschools and primary schools, usually the "tovning". Origins and change Haglund explaines that the type of wool carpets that she produces are manufactured and used in Kyrgystan, where the wool mats are used in jurts. Haglund first used her woodenrod jalousie when wet felting which she has now replaced with bubble wrap. She thinks that bubble wrap gives a smoother texture. It's also to be said that Haglund's husband has made her a machine that felts larger objects such as carpets, and is powered by human labour. Organisations FÅReningen, the sheep association (a non-profit association involved in all fields associated with sheep - crafts, husbandry, food) is a given organisation which gathers members who are involved with wool production and interests in quality. In Värmland there's also a folk high school (vocational adult education) with a course called "Ullakademin", the wool academy, which is a local, but of interest nationally, school in the art of felting. Places Fårfesten in Kil: farfestikil.com Artefacts Commonly clothes such as mittens, slippers, hats. Also items for the house such as seating, cushions, carpets. Artefacts of arts and crafts, and applied arts. State of the practice declining Environmental sustainability Haglund produces her products fully in wool. The sheep keeping and wool production of Sweden have been greatly diminished, which has led to a lot of wool that could have been used have been wasted or burnt. To produce in wool nationally and use Swedish wool is a great use of a ethical, non-hazardous, traditional and culturally important fiber that is accessible. Economic sustainability Like written above about the enviormental goals. Place The town or city Skacksjö 13, Östra Ämtervik, Sweden Place Description Östra Ämtervik is characteristic rural Swedish countryside where farmers have used the land for crops and husbandry. It’s a area which have been affected by the close by are of Nobel laureate in literature 1909 Selma Lagerlöf’s mansion Mårbacka situated in the area which have attracted cultural and international visitors, as well as the art museum Alma Löv. Residents of Östra Ämtervik commute for work to towns and citys nearby. The landscape is made up of fields, forests, farms and villas. Many keep livestock for a small scale self-sustainable lifestyle or grow crops or hunt wildlife for meat. Many artisans and culture practitioners live in the area. It's situated between lake Mellanfryken and Visten in Sunne Municipality, which has got about 13.000 inhabitants. Östra Ämtervik is an area of about 800 people. Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Felting Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Felting Type The nature or genre of the resource Intangible Description An account of the resource 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. Creator An entity primarily responsible for making the resource 701 Language A language of the resource Swedish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 413 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. 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 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 19/06/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Tovning/filtning Spatial Coverage Spatial characteristics of the resource. current,59.729006,13.322161; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 726 Context There’s the tradition from the same cultural area, apart from other places in Sweden associated with the forested regions, of braiding in birch bark. The braiding of birch also gives the pattern of woven squares which give shape and form to e.g. bowls, baskets, boxes. This expression of form is like that of the clothing with entrelac/näverstickning. Field Worker Ulrika Jäger, Sara Olsson Climate Threats Water pollution,Loss of biodiversity,Invasive species,Deforestation,Deterioration of material Economic Threats Insufficient renumeration,Arduous training Technological Threats Use of modern materials Policy Threats Lack of conservation policy,Threatening regional planning policies,Educational standardisation Globalisation New pastimes,Rapid sociocultural change Weakened Practice Aged practitioners,Diminishing participation,Diminishing youth interest,Halted transmission between generations,Reduced practice Loss Threats Loss of cultural spaces,Loss of knowledge,Loss of cultural significance SDG Responsible Consumption and Production External ID RV_CP_01 Knowledge The practice requre knowledge how to knit, handle yarn and to read and understand pattern. It's a difficult technique to master and is not easily learnt online (forexample Youtube) or other easily accessable places. Inez has written a book with patterns, but it's easiest learnt with a mentor. Knowledge Transfer Inez have had a couple of workshops in Värmland and currently is mentoring crafter and knitter Ulrika Jäger. She's most recently held a workhop in Finnskogen, Lekvattnet, in July of 2024. Inez has been a textile crafts teacher and taught her pupils to knit. Entrelac has been her focus when teaching since she retired. Practitioners Inez have inhereted the knowledge from her grand, grandmother. The tradition seems reserved for the female sphere. Function There are people that wants to learn the practise but there are few bearers of culture and practiotioners. Entrelac is a cultural heritage that communicates it's roots with the culture of forest finns which immigrated to the area during the 17th century. Origins and change The practice seems so have come to Värmland with the forest finns from Finland during the 17th century. Many used for decorating everyday used objects, such as clothes). Organisations Nordiska museet in Stockholm has one artefact with entrelac in their possession. Places The finn forest of Sweden and Norway Artefacts Mostly garments such as knitted mittens and socks State of the practice declining Social sustainability Knitting is a popular activity to meet and partake in socially, for example to meet in knitting cafés, which is inspiering and is a way reduce isolation and lonliness for all ages. Environmental sustainability Inez only uses wool, and uses wool which is produced in Norway. She buys her yarn locally in Sunne. She produced no waste. . Place The town or city Sunne, Värmland, Sweden Place Description Entrelac/näverstickning has associations to the Finn Forest where Inez grew up. This technique was brought over with the forest finns who emigrated to Sweden and current day Norway in the 17th century. The expression of the braided birch bark which shows the culture, also shown in the knitted garments. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Entrelac Type The nature or genre of the resource Intangible Description An account of the resource 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) Creator An entity primarily responsible for making the resource 695 Language A language of the resource Swedish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 412 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Marias vantar. En bok om näverstickning - vantar, mössor, småslöjd. Inez Assk ISBN9789186699659 Kontstrikk. Ruth Gullbekk Bolstad. ISBN9788291195353 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 19/06/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Näverstickning / Kontsrikk on the Norweigian side of the Finn forest Spatial Coverage Spatial characteristics of the resource. current,59.8376399,13.1230106; Date Modified Date on which the resource was changed. 15/09/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 716 Context Selecting the wool by the farmers requires knowledge: the belly wool and thighs must be taken away: it is usually damaged. The wool in the living sheep must be kept clean.. Ranghild speculates that probably in the past some could have kept some heads just for wool, probably from castrated rams. Sorting the fleece must be done very carefully: neck wool is more delicate, and better for socks.The belly wool is called buk. Lår: tight wool - Fell: fleece - it can also refer to a duvet. - vegetabiler - straws in the wool that you cant put in the spinning mill. "Det er mye rusk i ulla." to express this excess vegetation. If the sheep lie in the side they are in trouble they lie in "øbelta", and the sheep can be in mortal danger./ syner av: they stop breastfeeding. Fjøskåpe - to go in the farm milking the cows. Sheep are know to be prepared also to detect predators and they organize themselves to do watchings, or to know when there is an emminent danger (for example, an avalach). Field Worker Elisabeth Rosa Brusin, Ole Andreas Sagmo, Rebeca Franco Valle Climate Threats Loss of biodiversity,Invasive species,Coastal erosion,Sea-level rise,Increased rainfall,Deterioration of space Economic Threats Rapid economic transformation Technological Threats Industrial production Policy Threats Lack of conservation policy Conflicts Human encroachment on boundaries Demographic Threats Rural-urban migration Decontextualization Touristification,Misappropriation Globalisation New pastimes,Rapid sociocultural change Weakened Practice Aged practitioners,Diminishing participation,Halted transmission between generations,Reduced practice Loss Threats Loss of cultural spaces,Loss of knowledge,Material shortage,Loss of cultural significance Climate Actions Research,Community Engagement,Collaboration with other organisations SDG Decent Work and Economic Growth,Industry Innovation and Infrastructure,Reduced Inequalities,Sustainable Cities and Communities,Responsible Consumption and Production,Climate Action,Life On Land External ID MN_CP_01 Knowledge Knowledge about different sheep breeds from Norway, their history and the different textures of their wool, and their applications to different kinds of clothing. Sheep farming and animal care and welfare are also taken into consideration in the process. It also requires knowledge about the stages of preparation the wool must go through before it is ready for shaping into yarn or unspun wool. Knowledge Transfer There are schools for learning traditional fiber and textile work. Sheep farming is an office that can also be learned, but entails practice throughout years. Keeping traditions related to sheep herding in the Lofoten islands rely much on the knowledge transmitted during generations between the farmers. Practitioners Current practitioners of the office: traditional textile workers, and farmers. They can be learnt by choosing to work in that particular work. There is general gender differences that rely on longer cultural undercurrents (ie. wool textile workers are generally woman). Function Besides preserving the sense of belonging to a long-term domestic tradition, it opens the gates to thinking about fiber choices, local production and slow-fashion as gatheways to sustainable fashion industry. Tourist engage in this sustainable indrustry by choosing locally produced raw materials and products that support the local primary sector, Origins and change The current practices are not directly tied to ancetstral traditions, but the can be considere traditional. They aim to recover, mantain and enhance the former domestic textile production. The use of old breeds of sheep adapted to the climate and landscape of the area sheds a different kind of wool, more ruogh that the one obtained from breeds adapted to industrial productions such as the merino sheep. Shearig is still done manually by professional hands, but the wool is washed and combed with modern machines. Organisations Lofotr Viking Museum, the slaughtery, the organizations Norske Kunsthandverkerer and Norske Biledkunstnerer, Småbrukerlager and Bondelaget, and Husflidlaget. Lofoten wool also offers an opportunity for elderly woman and persons in retirement, or those who simply would like to have extra income. They are organized from the workshop. Places The Lofotr Viking Museum is also a heritage site that preserves old sheep breeds and showcases textile traditions from the iron age. Vestvågøy Husflidlaget also offers Lofoten wool workshops. Artefacts The machinery is outsourced. But this practice highlights the link between the obtention of local raw (wool) and a primary product (yarn and processed wool fabric). In the worskhops, yarn comming from the wool mill is winded with a manual yarn winder into skeins. The yarn winder is a tradtional domestic textile tool, that keeps being used in Lofoten wool. From it, sweaters, mittens, curtains, pillow cases, shalls, hats, fabric are made. Some of the objects follow traditional designs and knitting patterns, such as the sweater Islender (MN_AR_03) or the fisheman mittens (MN_AR_04). Climate Threats Description Loss of Biodiversity: there are few sheep farms left in Lofoten. Invasive species come with streams of imported products, vacations abroad and mass tourism. As an island, coastal erosion and rise of sea level may affect the place. Increased rainfall modifies the flora and the naturall cicles on which fodder for the sheep is produced. Economic Threats Description Raw material production is being increasingly outsourced, away from the country. Rural road infrastructure in the islands with few options of public transport Technological Threats Description Indrustrial production has to be used to make the business sustainable. Conflicts Description The increasing preasure of new inhabitants on the area and vacation houses creates conflicts with the use of pastures for the ship Decontextualization Description Mass tourism demands more infrastructure for tourism, in the detriment of the farmland economy. Traditional weaving patterns are appropiated by fast fashion industries. Globalisation Description Craft hobbies with wool have been reduced in the past decades. At the same time, industrial production of clothes and fast fashion produced in other countries, with more affordable products, makes the products less atractive. Weakened Practice Description Less people works in sheep farming. The wool is harder to obtain. It is very time-demanding work. Loss Threats Description With the loss of traditions linked to traditional manners of processing the wool, also the old tool usage has been lost to big extends. Oral traditions preserved are very few, since the founder of the project Lofoten wool is not a local herself. State of the practice declining Social sustainability It creates direct local employment for people hired for their skills. This helps against rural exodus, nurturing the local community development. Environmental sustainability Sheep farming has very little impact over the local landscape. It helps preserving the landscape too. There is very waste generated during thr process of obtaining the wool. The energy employed is electric. The raw materials are sourced locally, but the wool preparation has to be outsourced from another region, since there is no local installations that offer this service and the production center is not big enough. Economic sustainability It diversifies the production of the region, offering locally produced textiles using local raw materials. This also benefits the local sheep farmers, that find a use for the sheep wool that would otherwise go to waste. Natural dyes produce little toxic waste. Place The town or city Stamsund, Lofoten, Norland Place Description Lofoten wool is situated in the proximity of the town of Stamsund. The town belongs to the municipality of Vestvågøy, in the Lofoten Archipelago and by 2023 counts 1.104 inhabitants. The town is one of the largest fishing towns in Lofoten, and an important fishing harbour. The fishing town was established in 1983 by JM Johansen, and today houses one of the largest fish processing plants of Lofoten, a Tran refinery, and its own shipping company. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wool fiber processing Type The nature or genre of the resource Intangible Description An account of the resource 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. Language A language of the resource Norwegian Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 409 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. 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/ Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 19/06/2025 Spatial Coverage Spatial characteristics of the resource. current,68.1490556685704,13.7622515654953; Creator An entity primarily responsible for making the resource 687 Date Modified Date on which the resource was changed. 04/07/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible State of the practice thriving Field Worker Carmen Pérez Maestro External ID LAPONTE_CP_02 Place The town or city Villaviciosa and Gijón area, Asturias, Spain Place Description Jet is the most well-known and widespread gemstone found in Asturias. The area of Villaviciosa and Gijón is the epicenter of both its extraction and its transformation into jewelry pieces.The layers of jet are located in the highest sections of the Upper Jurassic, from the Kimmeridgian age, consisting of alternating sandstones, marls, and dark silty clays. It originated from woody trunks that were carried and deposited between the sandstones of the well-known Lastres Formation, although it is also found in the so-called La Ñora and Vega formations, in a transitional sedimentary environment.There are precedents for the recognition of the existence and quality of Asturias' jet in foreign scientific publications as early as the 19th century. CINE only true Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jet culture Type The nature or genre of the resource Intangible Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 408 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 18/06/2025 Date Modified Date on which the resource was changed. 15/09/2025 Description An account of the resource 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 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Cultura del azabache Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context The traditional Asturian women's attire includes necklaces and earrings made of jet. Field Worker Carmen Pérez Maestro Technological Threats Surge of new technologies Weakened Practice Reduced practice Loss Threats Loss of knowledge,Material shortage,Loss of cultural significance SDG Gender Equality,Decent Work and Economic Growth External ID LAPONTE_CP_02 Knowledge Firstly, the knowledge of jet extraction, which was carried out by men until the mid-20th century. The raw pieces were extracted seasonally by the farmers themselves. The mines, which were of little significance, mainly consisted of small linear galleries following the mineral veins. Currently, jet mining is not permitted, and contemporary artisans work with the remnants of these extractions that remained on the surface. Secondly, the skill of stone carving, which was traditionally done with a chisel and is now performed with precision mechanical tools. Knowledge Transfer The lack of raw material makes the transmission of the craft easy and abundant. In rare cases, the artisan delegates the learning of all their techniques to one person, as the profession is in danger of extinction, despite having been recently declared a Cultural Heritage Asset in Asturias.There are practically no active jet artisans who are familiar with traditional carving methods using hand tools. Mechanical systems have been introduced, which are not deeply rooted in the tradition, leading to a delicate situation in this regard. Practitioners In the past, only men were involved in jet work, although it seems that it was the women who did the final touches on the pieces. Today, the majority of those engaged in this activity are women, and most of them combine jet work with other materials such as silver, also applying jewelry-making techniques. Function Currently, the people of the region take pride in the existence of this artisanal tradition, despite the disagreements between the two existing associations. Jet continues to be seen as a protective element, which means that the pieces made from this material are valued not only for their beauty but also for their symbolic significance. Origins and change In Asturias, jet has a long tradition. The oldest pieces are documented in the Cave of Las Caldas, dating back 19,000 years to the Solutrean period. A jet bead was found in the tomb of Monte Areo (tomb XV), part of a burial set from the 5th millennium BC. Jet use is also documented in Camoca and Moriyón, near the Villaviciosa estuary, as well as in the Roman-era town of Veranes.Traditionally used as a symbol of protection and good fortune, jet was commonly worn by pilgrims on the Camino de Santiago from the 11th century onward. Oviedo, a key stop on the Camino Primitivo, became an important center for jet trade and craftsmanship. By the 14th century, Asturian workshops gained fame for the quality of their carvings.After the decline of the Camino de Santiago, jet gained a resurgence due to a historical event. Following the death of Prince Albert in 1861, mourning became fashionable in Victorian society as a symbol of support for Queen Victoria. This was not a passing trend, as she wore mourning attire for the rest of her life and made extravagant use of jet jewelry, which was ideal for this occasion.Today, jet is primarily used in jewelry, and one object that has continued from the past is the "mano" or "figa," whose protective symbolism still endures. Organisations In 1999, "Acebache" was created in Villaviciosa, an association aimed at developing the jet tradition of Asturias. This collective includes not only artisans with their respective workshops, but also experts. In 2017, this association split, leading to the creation of "Azabache Jurásico de Villaviciosa," also composed of artisans and experts in this heritage. Places Monographic Jet Fairs in Asturias:Ribadesella and Tazones host specialized fairs dedicated to Asturian jet, where artisans, experts, and enthusiasts gather to showcase and celebrate this traditional craft. These events highlight the historical and cultural significance of jet, featuring exhibitions, demonstrations, and handcrafted jewelry.The Azabache Fair of Oviedo is an other event that celebrates the tradition and craftsmanship of Asturian jet. Held in the historic center of the city, it brings together artisans, jewelers, and experts who showcase their handcrafted pieces Artefacts Figa or Jet Hand: Protective amulet against the evil eye and negative energies. Rosaries and Beads: Used in religious devotion, combining jet with other noble materials. Earrings and Pendants: Traditional and contemporary designs in which jet is set in silver. Brooches and Cameos: Finely carved pieces, especially popular during the Victorian period. Technological Threats Description Traditional carving techniques are no longer used; they have been replaced by mechanical methods. Weakened Practice Description There is no generational continuity in learning the craft Loss Threats Description The prohibition of raw material extraction has led to very limited supplies. This has also resulted in the inclusion of other minerals, such as those from Turkey, which are not authentic Asturian Jurassic jet. Safeguarding activities Both associations engage in promotional activities to spread awareness of Asturian jet craftsmanship, including organizing events, workshops, and demonstrations. Additionally, jet sales fairs are held, where artisans showcase and sell their handcrafted jet pieces, helping to preserve and promote this traditional craft. State of the practice declining Social sustainability Gender Equality: Traditionally, jet craftsmanship was dominated by men, but today, many women are involved in the craft, often combining it with other materials like silver. This shift has provided women with opportunities for economic independence, skill development, and recognition as artisans.Community Development: The jet industry has supported local economies in Asturias, particularly in regions like Villaviciosa and Gijón. Craftsmanship creates jobs and stimulates local commerce, with fairs and exhibitions drawing attention to the region. Environmental sustainability Use of Natural, Locally Sourced Materials: Jet is a natural material that has been traditionally sourced from the region of Asturias, specifically from the Jurassic period deposits. The use of locally sourced jet minimizes the environmental impact associated with transportation and supports local geology and heritage. As it is a non-renewable resource, its extraction has been regulated to ensure that it does not overly deplete local resources.Sustainable Craftsmanship Practices: The methods used by artisans today, although increasingly mechanical, often rely on precision tools and small-scale, localized production, as opposed to mass industrial production. Energy Efficiency: Traditional jet carving methods required hand tools, while modern mechanical tools (e.g., Dremels or carbide tools) are more energy-efficient than heavy industrial machinery. Though not fully sustainable in energy use, these tools consume far less energy than large-scale manufacturing processes. Economic sustainability The Azabache fairs and markets provide artisans with opportunities to showcase and sell their work, both locally and internationally. These events attract tourists and buyers interested in traditional craftsmanship, which expands market access for local artisans. Artisans working with jet often combine it with other materials such as silver or gold to create jewelry, which broadens their income potential. For example, artisans who produce traditional jet jewelry can also expand into contemporary designs to cater to different markets, diversifying their income sources. Place The town or city Villaviciosa and Gijón area, Asturias, Spain Place Description Jet is the most well-known and widespread gemstone found in Asturias. The area of Villaviciosa and Gijón is the epicenter of both its extraction and its transformation into jewelry pieces.The layers of jet are located in the highest sections of the Upper Jurassic, from the Kimmeridgian age, consisting of alternating sandstones, marls, and dark silty clays. It originated from woody trunks that were carried and deposited between the sandstones of the well-known Lastres Formation, although it is also found in the so-called La Ñora and Vega formations, in a transitional sedimentary environment.There are precedents for the recognition of the existence and quality of Asturias' jet in foreign scientific publications as early as the 19th century. Prim Media 712 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jet culture Type The nature or genre of the resource Intangible Description An account of the resource 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 Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 407 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. 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. Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 18/06/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Cultura del azabache Date Modified Date on which the resource was changed. 18/06/2025 Creator An entity primarily responsible for making the resource 683 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context One of the artisans recounts that there are ballads dedicated to the trapadoiro, which is one of the tools used to shape the mouths of the vessels. Vessels are crafted in connection with other traditional cultural practices of Asturias, such as cheese-making or cider culture. Field Worker Carmen Pérez Maestro Climate Threats Deterioration of space Conflicts Intolerance,Disrespect Demographic Threats Rural-urban migration,Population Influx Weakened Practice Diminishing participation,Diminishing youth interest,Reduced practice Loss Threats Loss of cultural spaces SDG Zero Hunger,Good Health and Wellbeing,Decent Work and Economic Growth,Responsible Consumption and Production External ID LAPONTE_CP_01 Knowledge Those corresponding to the ceramic creation. Knowledge of clay extraction sites. Treatment of clay, modelling and potter's wheel. Surface treatment and firing of pottery. Knowledge Transfer Nowadays, only one potter's workshop remains in Faro, that of José Manuel Vega ‘Selito’, the last of a potter's lineage that dates back to the Middle Ages. For years "Selito" has had an apprentice, Orlando Moran, who today has the skills to make this ceramic tradition. Since 2022, a potter, Verónica Rodriguez, from another part of Asturias, has moved to Faro. Although her knowledge of pottery comes from the ceramic tradition of Llamas del Mouro, she has learned to make traditional Faro's pottery. The potter who is currently passing on the knowledge about the manufacture of traditional Faro´s pottery is Orlando Moran, who works in an arts and crafts school. Practitioners José Manuel Vega 'Selito' was active until the year 2024.Currently the artisans are Fernando Morán and Verónica Rodriguez, Orlando is the heir to the knowledge of the last potter "Selito," who also passes on this legacy at a municipal arts school, while Verónica is a new potter in this tradition who, in addition to creating her own space in Faro, shares her knowledge through workshops. Function Faro pottery is a centuries-old artisanal tradition that connects present generations with their historical and cultural roots. Each piece reflects techniques and designs passed down through time, making it a tangible symbol of local history. Origins and change Faro is a ceramic production center in Asturias, whose activity has been documented since the Middle Ages. Archaeological evidence confirms pottery production in this village dating back at least to the 11th century. Faro is frequently mentioned in medieval Asturian documents. In the 12th century, the following words are found: iuxta Ovetum, in villa pernominta Faro. The first reference to Faro's pottery industry dates back to the early 16th century (1519). The Marquis of Ensenada's cadastral survey (conducted in the territories of the Crown of Castile to understand, register, and evaluate assets) reports 72 potters, which highlights the significance of Faro in this industry and its productivity in the 18th century. The type of wheel used in Faro until the 20th century was the low or hand wheel, until José Vega "Lito" introduced the foot-operated wheel. This advancement led to an increase in production. The kiln used is the "open kiln." It consists of two parts: the firing chamber, where the pieces are stacked, and a boiler in which the fuel is placed; in this case, "rozu" (a type of fuel). Once the kiln is filled with ceramic pieces, the top is covered with "tapines," pieces of earth with green grass. The earth is placed facing inward, and broken tiles are used to form the chimney. In the past, firewood was the fuel for these kilns, but today propane gas is used. Organisations Xunta pola defensa de la Alfarería Tradicional de Faro and "Asociación de Amigos de la Alfarería de Faro". There is a conflict between both associations, as the Xunta advocates for the faithful maintenance of methods, techniques, forms, and decorations of this ceramic tradition. Places In the same village of Faro, there are archaeological sites associated with pottery making, including remnants of kilns, workshops, and clay extraction areas. The house and workshop, which includes a traditional kiln, of the Vega family (Faro de Arriba) is listed in the Inventory of Asturias' Cultural Heritage. Unfortunately, part of this workshop was damaged by a fire in December 2023. Artefacts Regarding those related to manufacturing, they are: a foot-operated lathe, a thread cutter, a trapadoiro (leather cloth), tools specific to pottery (small wooden tools, a knife, and an awl). For glazed ceramics, a pisón was used (a stone with a hole in the center serving as a mortar to crush lead with tin and sand, creating the mixture for white glaze or tin-glazed coating), along with a brush to apply pigments. As for the types of vessels, they include: the "barbón" (with three handles), the "penada" (a water pitcher), the jug — "xarra" for cider, the cheese maker, and the casserole dish. In glazed ceramics, there are also plates, bowls, water jugs — "xarru," chamber pots, and two vessels shaped like a rooster and a hen. Climate Threats Description The pottery workshop of "Selito" in Faro suffered a fire in 2023. Conflicts Description Lack of understanding between the two associations that defend the traditional pottery of Faro. Changes in political parties have caused ongoing projects related to the creation of a center for the interpretation of Faro's traditional pottery to be delayed or halted. There is also a lack of mediation tools in these conflicts. Demographic Threats Description On one hand, during the 1960s, there was large-scale migration from the countryside to the city, which caused the rural population to decrease significantly. On the other hand, Faro's proximity to the city of Oviedo has turned this area into a commuter town, inhabited by people with no familial ties to the rural area. Weakened Practice Description For various historical reasons, such as migration to the city or the emergence of household items made from other materials, ceramic vessels stopped being produced. Today, only two people continue practicing this pottery, and younger generations show no interest in learning. All of this has led to a decline in production over the years. Loss Threats Description The pottery workshop of "Selito" in Faro suffered a fire in 2023. Faro's proximity to the city of Oviedo has turned this area into a commuter town, inhabited by people with no familial ties to the rural area. State of the practice declining Social sustainability Currently, production is in decline. On a positive note, a new female artisan has established a workshop in the area, where she conducts workshops for the community. This represents a boost for the cultural revitalization of this rural region. Environmental sustainability This cultural practice does not involve pollution Economic sustainability Not actually. Place The town or city Faro, Oviedo, Asturias, Spain Place Description Faro is a small village of some 200 inhabitants in the Parroquia de Limanes, belonging to the Asturian municipality of Oviedo, a city from which it is only eight kilometres away. It was during the Middle Ages that the place became important due to its strategic location at the crossroads of communication routes and its dependence on the great monastery of San Pelayo. It was also during this period that its pottery activity, for which it is well known, began to emerge. Nowadays, together with a small agricultural and animal husbandry activity, Faro is fundamentally a residential area. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faro's pottery Type The nature or genre of the resource Intangible Description An account of the resource 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. Language A language of the resource Spanish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 406 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. 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 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 18/06/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Alfarería de Faro Spatial Coverage Spatial characteristics of the resource. current,43.355833,-5.794167; Creator An entity primarily responsible for making the resource 681 Date Modified Date on which the resource was changed. 18/06/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context Weaving as many of the cultural practices in a small community, represented just another opportunity to gather the community and enhace social bounding. Field Worker Noemi Ganea Climate Threats Loss of biodiversity Economic Threats Insufficient renumeration,Rapid economic transformation Technological Threats Industrial production Demographic Threats Rural-urban migration Decontextualization Misappropriation Globalisation Rapid sociocultural change Weakened Practice Aged practitioners,Diminishing youth interest,Reduced practice Loss Threats Loss of cultural significance Climate Actions Community Engagement SDG Responsible Consumption and Production External ID CJMM_CP_02 Knowledge Manual weaving in Maramureș is a deeply rooted tradition that requires a combination of technical skills, artistic creativity, and cultural knowledge. This practice, passed down through generations, involves intricate techniques and an understanding of natural materials, patterns, and symbolic motifs. Weavers must master both the mechanical aspects of loom operation and the creative elements of textile design while preserving and passing on this valuable tradition to future generations. Knowledge Transfer It can be a family tradition passed on from generation to generation, usually on the maternal side of the family,also the skill that can be acquired and mastered during the community meetings ( the so called sezători, especially in the winter when there is less fieldwork to be undergone), and nowadays there are courses available in craft schools/organizations. Practitioners Especially women had the responsiblity of learning and transmitting this cultural practice, but also men were involved in the process of wool processing and in some cases also worked alongside their wives. Anuța Stan, the weaver interwied by our team acknowledged that her husband is helping her weaving to be more productive. Function Weaving fosters a sense of belonging and shared cultural identity, as it is often a community-driven activity passed down through generations. Local festivals, workshops, and artisan markets provide spaces for weavers to interact, share knowledge, and preserve traditional techniques. The craft reinforces regional identity, as Maramureș weaving patterns and styles are distinct and recognized as part of Romania’s cultural heritage Older generations play a key role in teaching younger family members, ensuring that weaving remains a living tradition. Many artisans continue to weave for economic sustainability, selling handmade textiles in local and international markets. The resurgence of interest in eco-friendly and slow fashion has increased the demand for ethically made, handwoven products, supporting local artisans. Organisations Weaving is one of the oldest practices in the area of Maramureș, practitioners are proud to use generation transmitted tool. They practice it as a source of income by selling their products, usually their workshops are on the premises of their homes. Places Local authorithies and regional authorities became lately aware of the fragility of these practices, consciously promoting craftmen and practices . There are folk art schools and craftmen organisations that activate in conservation and promotion of these crafts, but NGOs are usually the strong voices behing the craftmanship. Artefacts The tools used are the loom (război de țesut) more that 100 years old in lour case, reel (crâng/vîrtelniță), carder (rășchitor), sley (sucală), warp (urzoi), spindle (fuse), spinning wheel for a thicker type of wool (drugă/fuior). The weavers produce a large ranhge of products, but in our case the practitioner interviewed produces: traditional bags ( traistă), blankets (cergi) and carpets Climate Threats Description lack of first hand raw material Technological Threats Description industrial production impacts slow hand made production Policy Threats Description there are no policies/strategies or action plan that directly address the issue of conservation and promotion of traditional cultural practices. Demographic Threats Description small community, younger generation preffer the opportunites of living in the urban area where authentic cultural practices are difficult or unappealing to be practiced Decontextualization Description The availability of mass produced, in many cases fake products that have attractive prices, can affect the interest for genuine hand made authentic products Globalisation Description it is difficult to addapt adapt traditional cultural prectices to an everchanging socio cultural environment. Weakened Practice Description the practice is not appealing to younger generations Loss Threats Description The ever changing cultural environment might disconsider the significance of traditional cultural practices. State of the practice declining Social sustainability All small scale cultural practices positively impact the social cohesion of the community Environmental sustainability The practitioner uses locally sourced wool, having zero waste ( even lower quality wool is being repurposed), natural dyed colors from plants are used without impacting the enviroment, considerable manual work involved. Economic sustainability The practice has low economical impact, but it is still used by the practitioner as a source of primary income. Place The town or city Săpânța, Maramureș Place Description Săpânța village is situated on the right bank of Tisa, next to Valea Tarasului, close to the confluence of Săpânța and Tisa rivers, in the extreme north of Romania, where Maramureș County, borders Ukraine. Prim Media 664 Domains fibre and textile crafts Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Weaving Type The nature or genre of the resource Intangible Description An account of the resource .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. Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 396 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Memoria Ethnologică: https://www.memoria-ethnologica.ro/articole/page/98/ Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 12/06/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. A țăse Spatial Coverage Spatial characteristics of the resource. current,47.966669,23.7; Date Modified Date on which the resource was changed. 15/09/2025 Creator An entity primarily responsible for making the resource 657 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Field Worker Noemi Ganea Policy Threats Urban Development Demographic Threats Rural-urban migration Decontextualization Theatrification Globalisation New pastimes Weakened Practice Diminishing participation Climate Actions Community Engagement SDG Gender Equality External ID CJMM_CP_01 Knowledge a good knowledge of the oral patrimony of each area, natural talent Knowledge Transfer it can be transmitted as a family tradition, part of the heritage of each family transmitted from generation to generation, but in Maramures there are local folk art schools that educated potential singers in this area Practitioners In the archaic Maramures society, women were responsible for bearing, cultivating and making sure this practice is further transmitted. Grandmothers, mothers make sure their daughters/granddaughters are educated so that singing, and embracing all types of songs and rituals became part of their cultural heritage. Function Early Preparations: Carolling preparations begin weeks in advance, as children and young people rehearse their songs and create traditional costumes or props. Groups and Routes: The carollers, known as colindători, form groups that travel through villages, stopping at each household to sing. Blessings and Rewards: Hosts welcome the carollers with food, sweets, nuts, apples, and sometimes money as a token of appreciation and blessing for the new year. Types of Carols in Maramureș Religious Carols: Many songs focus on the birth of Christ, the Virgin Mary, and the Nativity. Folk Carols: Some carols reflect local legends, pastoral life, and historical elements of the region. Joyful and Festive Carols: These include songs meant to bring good luck, prosperity, and happiness to the family. Unique Elements of Maramureș Carolling Traditional Costumes: Carollers often wear beautifully embroidered garments specific to the Maramureș region. Wooden Churches and Community Gatherings: Villagers often gather at local wooden churches to celebrate with communal carolling and festive meals. Feciorii Satului: A group of young men known as Feciorii Satului often take the lead in carolling and festive celebrations, ensuring that traditions are passed down. Origins and change Carolling is an opportunity for families to show hospitality by welcoming carollers with food, sweets, or small gifts. The act of giving and receiving reinforces social harmony, mutual respect, and the importance of generosity. 5. Celebration of Identity and Regional Pride Maramureș is known for its strong cultural identity, and carolling is an expression of this. The songs, costumes, and rituals associated with carolling reflect local customs, linguistic expressions, and folk beliefs that distinguish Maramureș from other regions in Romania. 6. Spiritual and Moral Education The themes of carols often include messages of peace, faith, and goodwill. These reinforce moral and ethical values within the community, encouraging virtues such as kindness, respect, and solidarity. 7. Social Entertainment and Festivity Carolling is a joyful activity that adds to the festive spirit of Christmas. It provides a moment of entertainment, music, and socializing, allowing villagers to take a break from daily work and engage in communal celebration. 8. Strengthening Rural Social Structures In smaller villages, carolling strengthens rural social structures by maintaining traditions that encourage participation from the entire community. The hierarchical organization of carolling groups (led by experienced members) reflects and preserves the traditional social order. Organisations Folk Art Schools, local NGO's from traditional areas of Maramures, local authorities that usually organize Christmas dedicated events, the Church (mainly Orthodox) Demographic Threats Description The authentic carolling is practiced mostly in rural Maramureș, while the urban area is less practiced Decontextualization Description Practitioners complain about commercial, losing the authenticity and specificity Globalisation Description Younger generations tend to be less interested in these type of cultural practices Weakened Practice Description The authentic carolling is practiced mostly in rural Maramureș, while the urban area is less practicised State of the practice declining Social sustainability Carolling is a collective activity that unites the entire village during the Christmas season. Groups of carollers travel from house to house, reinforcing relationships between families, neighbors, and generations. This annual ritual fosters trust, cooperation, and mutual support, ensuring strong social ties that sustain rural life. Inclusivity: People of all ages participate, from children to the elderly, creating a shared sense of belonging. Reciprocity and Social Bonds: Households welcome carollers with food, gifts, and warm hospitality, reinforcing community solidarity. Place The town or city Nanesti, Maramures, Romania Place Description Nănești is a village in Maramureș County, Romania, situated within the commune of Bârsana. The village's name has appeared in historical documents in various forms, including Naufalva, Nanfalva, Nanfalua, Nanfalwa, Nonești, and Nanfalu, all derived from the personal name "Nan" and its derivative "Nănești." The first documented mention of Nănești dates back to 1412, when King Sigismund granted the Nănești estate to Ioan, son of Daan from Văncești (now Oncești), and his cousins. For a significant period, Nănești's history was intertwined with neighboring villages such as Oncești and Valea Porcului, collectively forming part of the territory known as "Olacalis Waralia," attested around 1360. Nestled along the Iza River valley, Nănești is flanked by the villages of Bârsana and Oncești. The region boasts a rich natural heritage, characterized by rolling hills, dense forests, and fertile plains. Archaeological excavations in the area have unearthed stone chisels and flint scrapers dating back to the Neolithic era, indicating early human settlement. The social fabric of Nănești reflects the broader cultural heritage of the Maramureș region, renowned for its wooden churches, vibrant folklore, and enduring traditions. The village is part of the commune of Bârsana, which is home to the Bârsana Monastery, a UNESCO World Heritage site celebrated for its distinctive wooden architecture. Residents of Nănești actively participate in traditional crafts, music, dance, and festivals that highlight the region's rich cultural legacy. Historically, Nănești's economy has been predominantly agrarian, with villagers engaged in farming and animal husbandry. The fertile lands along the Iza River support the cultivation of various crops, while the surrounding hills provide ample grazing grounds for livestock. In recent years, there has been a growing interest in rural tourism, leveraging the area's cultural and natural attractions to promote economic diversification. In summary, Nănești is Prim Media 1904 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Carolling Type The nature or genre of the resource Intangible Language A language of the resource Romanian Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 392 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 12/06/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Colinda Spatial Coverage Spatial characteristics of the resource. current,47.8355,24.0132; Date Modified Date on which the resource was changed. 28/10/2025 Source A related resource from which the described resource is derived taralapusuluimap Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 492 Material Wood Natural Cultural Cultural Function Milking in mountainous areas Creation Purpose Household ware; Dairy industry Technique Wood carving Field Worker Enrique Meléndez Galán Craft woodwork Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zapica Jar Type The nature or genre of the resource Physical Object Date A point or period of time associated with an event in the lifecycle of the resource ca. 1850/1900 Extent The size or duration of the resource. 12cm x 17cm x 11cm Contributor An entity responsible for making contributions to the resource melendezenrique@uniovi.es Identifier An unambiguous reference to the resource within a given context 327 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/04/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Zapica Spatial Coverage Spatial characteristics of the resource. current,43.53689604607413,-5.634997934103013; Date Modified Date on which the resource was changed. 20/01/2026 Description An account of the resource 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. Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT wood Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 489 Material Glazed pottery Natural Cultural Cultural Function Jar Creation Purpose Household ware Field Worker Enrique Meléndez Galán Craft ceramics Tool Wheel-thrown Place The town or city La Cuesta, Samartino, Siero Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource El Rayu (Siero) earthenware ceramic pitcher Type The nature or genre of the resource Physical Object Description An account of the resource 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. Date A point or period of time associated with an event in the lifecycle of the resource 1920/30 Extent The size or duration of the resource. 22cm x 15cm x 14cm Contributor An entity responsible for making contributions to the resource melendezenrique@uniovi.es Identifier An unambiguous reference to the resource within a given context 326 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/04/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Jarra Spatial Coverage Spatial characteristics of the resource. current,43.53689604607413,-5.634997934103013;origin,43.39409793669156,-5.723769664764405; Date Modified Date on which the resource was changed. 20/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT ceramics Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 452 Field Worker Katarina Šrimpf Vendramin Climate Threats Loss of biodiversity,Deterioration of material Economic Threats Insufficient financial resources Technological Threats Industrial production,Use of modern materials Policy Threats Educational standardisation Globalisation New pastimes Weakened Practice Diminishing youth interest Loss Threats Loss of knowledge,Material shortage,Loss of cultural significance Climate Actions Community Engagement SDG Decent Work and Economic Growth,Industry Innovation and Infrastructure,Sustainable Cities and Communities,Responsible Consumption and Production,Life On Land External ID ZRCSAZU_CP_01 AI Tools Yes AI Content Chat GPT was used to summarise and translate the text, and draft some answers which required technical or generalized (i.e. not the interviewer's specific) special knowledge. Knowledge Wet felting requires a combination of technical skills, artistic creativity, and knowledge of materials to successfully transform raw wool fibers into durable felted fabric. More complex pieces, such as garments, require some engineering skills such as tailoring, knowledge of materials and shrinkage, and knowledge of shaping felt. While wet felting is accessible to beginners, refining these skills allows artisans to create intricate and high-quality felted pieces. Knowledge Transfer In Škofja Loka and Slovenia in general, the knowledge of wet felting is passed on in group and individual workshops led by experienced craftsmen. Practitioners Today, wet felting is primarily practiced by women who have learned the technique through various courses both locally and internationally. In the past, hatters relied on wet felting skills to create their products. However, modern hatmakers now purchase pre-made felt bases (such as cones), making traditional wet felting techniques largely obsolete in their craft. Function Felting supports local artisan businesses and sustainable fashion. Many Slovenian craftspeople sell handmade felted products—such as clothing, accessories, and home décor—at local markets, online, and through eco-conscious brands. For individuals, wet felting serves as a creative outlet that allows self-expression through color, texture, and form. Many practitioners, especially women, participate in felting groups, workshops, and local craft associations, where they share knowledge, collaborate, and support one another. Origins and change Archaeological findings and historical records of wool processing in medieval Slovenia suggest that felting was part of the broader wool industry that thrived in the region during the Middle Ages. Historically, wet felting was a practical skill used primarily by hatmakers and makers of gloves and felt boots/stockings. Today the practice has shifted towards artisans, hobbyists, and artists, mostly women who have learned the craft through workshops, artistic circles, and modern courses. Wool is still used, but felters have access to imported fine wool (e.g., merino), silk fibers, and synthetic blends that allow for greater variety in texture and design. Wet felting in Slovenia has evolved from a functional necessity in rural and professional textile work to a creative, artisanal, and sustainable craft. Places The most closely linked to this activity is Škofja Loka, where in the past there was a hat factory where hats were made from start to finish. Artefacts Wet felting is still done using minimal tools, such as wooden boards, different rollers, and manual handwork, with soap to help fibers bond. Today modern felters use bubble wrap, specialized felting needles, and synthetic felting mats, felting machines and various modern tools that are not specifically designed for this use but are adapted by the craftsman to his own needs (e.g. electric sanding machines) to speed up and refine the process. Organisations No specific organisation is linked to this practice. Climate Threats Description Biodiversity loss could affect breeding practices, especially of the breeds less economically profitable for the wool (on the account of meat). Material deterioration poses a significant threat to wet felting because it directly affects the quality, durability, and longevity of both raw materials (wool and fibers) and finished felted products. Modern wool processing processes can affect the material's abilities, and access to local wool is difficult in Slovenia. Technological Threats Description Machine-made felt and synthetic alternatives, such as polyester felt, have largely replaced traditional hand-felted wool products, diminishing the demand for handmade felting. The rise of fast fashion and mass production has further shifted consumer interest away from artisanal felted goods, which require more time and craftsmanship. Additionally, modern textiles like acrylic and polyester blends offer a cheaper, more uniform, and durable alternative, making them more commercially appealing than labor-intensive wet felting. Weakened Practice Description A decline in youth engagement poses a significant threat to the future of wet felting, as fewer young people are learning and continuing the craft. The economic viability of handmade felting is uncertain, making it less attractive as a professional pursuit. There is also risk of reducing interest in traditional, time-consuming crafts like wet felting. Economic Threats Description Products made with the wet felting technique are of a higher price class due to the labour intensive production. There is a limited market for such products in Slovenia, and artisans have to look for financial resources in several activities (e.g. workshops and trainings, selling products in different shops). Policy Threats Description Wet felting is rarely included in school curricula or mainstream creative programs, limiting opportunities for young people to discover and appreciate the craft. Globalisation Description The rise of new pastimes and digital entertainment has significantly impacted the way people engage with traditional crafts like wet felting. New pastimes have reduced direct engagement with traditional crafts but have also created new digital pathways for learning. Loss Threats Description Traditional wet felting skills once essential for hat-making have been largely replaced by industrial production, leading to a decline in expertise and knowledge transmission. Local Slovenian wool is becoming harder to obtain due to changes in sheep farming, reduced wool processing facilities, and market competition from imported fibers. Wet felting products, once essential for everyday life (e.g., hats, footwear, textiles), are now seen as decorative or artisanal rather than necessities, reducing their cultural relevance and demand. Social sustainability Wet felting supports various aspects of social sustainability by promoting gender equality, inclusivity, education, community development, and well-being. Wet felting is traditionally practiced by women, offering economic independence through small businesses, craft cooperatives, and fair-trade initiatives. Wet felting requires minimal equipment and can be adapted for children, seniors, and people with disabilities, making it an inclusive craft. Teaching wet felting helps safeguard cultural heritage and traditional craftsmanship. Schools, community centers, and art programs incorporate felting into hands-on learning, enhancing artistic expression, fine motor skills, and patience.Felting workshops, group projects, and cooperative ventures bring people together, fostering collaboration, social cohesion, and peacebuilding. The repetitive motions of felting are meditative and stress-relieving, making it useful in art therapy and mental health programs. Engaging in handcrafted work promotes mindfulness and well-being, counteracting the fast-paced digital world. Environmental sustainability Wet felting aligns with environmental sustainability through its use of natural materials, low-impact production methods, and waste reduction strategies. Sourced from sheep, wool is biodegradable, renewable, and requires less processing than synthetic fibers. Using Slovenian or regionally sourced wool reduces the carbon footprint associated with imported textiles. Unlike synthetic fibers (e.g., polyester), wool does not release microplastics into the environment. Wet felting uses natural soap and water, avoiding toxic dyes or chemicals found in industrial textile production. Wool scraps and leftover fibers can be repurposed into smaller projects, insulation, or composted, minimizing textile waste. Wet felting is done manually, requiring no electricity-intensive machinery, reducing energy consumption compared to factory-based textile production. Felted wool products naturally decompose over time, unlike synthetic fabrics that contribute to landfill waste. Many felted products are sold at local artisan markets, reducing the environmental impact of long-distance transportation. Unlike industrial textile factories, wet felting is often done in small workshops or homes, reducing large-scale manufacturing emissions. Economic sustainability Wet felting supports economic sustainability by providing market access, income diversification, fair trade opportunities, and alternative economic systems. Wet felting allows individuals, especially in rural areas, to create and sell unique, handmade products such as accessories, clothing, and home décor. Many artisans practice felting as a secondary source of income, supplementing traditional farming, textile work, or other crafts. Unlike mass-produced textiles, felted products are often sold through fair trade networks, ensuring fair compensation for artisans. Wet felting provides employment opportunities for women, older adults, and rural communities, promoting economic inclusion. Handcrafted felted goods are often produced and sold within local markets, craft fairs, and sustainable shops, reducing reliance on globalized mass production. Felted products promote the slow fashion movement, discouraging disposable, fast-fashion consumption and supporting ethical production. Learning wet felting allows individuals to create their own textiles, reducing dependence on industrial products. State of the practice stable Place Description Škofja Loka, one of Slovenia’s oldest and best-preserved medieval towns, is rich in historical, natural, social, cultural, and economic significance. Founded in the 10th century, Škofja Loka was a key administrative center under the rule of the Bishops of Freising, who governed the area for over 800 years. The town’s medieval layout remains largely intact, with landmarks like Škofja Loka Castle, historic townhouses, and remnants of defensive walls. Historically, Škofja Loka thrived on trade, crafts, and agriculture, with traditional industries such as ironworking, textile production, and woodworking playing an essential role. Today, the local economy is diverse, with tourism, small-scale manufacturing, and services being dominant sectors. Place The town or city Škofja Loka, Gorenjska, Slovenia Domains fibre and textile crafts Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wet felting Type The nature or genre of the resource Intangible Description An account of the resource 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. Language A language of the resource Slovene Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 310 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. 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 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 25/03/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Mokro polstenje Spatial Coverage Spatial characteristics of the resource. current,46.1663222982793,14.307308507957; Source A related resource from which the described resource is derived practices Date Modified Date on which the resource was changed. 02/09/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Demographic Threats Rural-urban migration Weakened Practice Diminishing youth interest Prim Media 1142 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Scotch Whisky Type The nature or genre of the resource Intangible Description An account of the resource The history, tradition, and process of making Scotch whisky. Peat is sometimes used to enhance the flavour and give it a smoky taste. Language A language of the resource English Subject The topic of the resource Industrial Heritage,INTANGABLE HERITAGE,PEOPLE Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 128 Source A related resource from which the described resource is derived highlandandislands,outerhebrides Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 17/10/2024 Date Modified Date on which the resource was changed. 19/08/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 228 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Outer Hebrides Tourism - Sarah MacLean Type The nature or genre of the resource Intangible Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 121 Source A related resource from which the described resource is derived highlandandislands,ruralspotlewis Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 16/10/2024 Date Modified Date on which the resource was changed. 28/07/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 226 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Calanais Visitor Centre - Marianne Campbell Type The nature or genre of the resource Intangible Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 120 Source A related resource from which the described resource is derived highlandandislands,ruralspotlewis Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 16/10/2024 Date Modified Date on which the resource was changed. 28/07/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 224 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Calanais Visitor Centre - Mark Davis Type The nature or genre of the resource Intangible Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 119 Source A related resource from which the described resource is derived highlandandislands,ruralspotlewis Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 16/10/2024 Date Modified Date on which the resource was changed. 28/07/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 222 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harris Tweed industry - Lorna Macaulay Type The nature or genre of the resource Intangible Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 118 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 16/10/2024 Source A related resource from which the described resource is derived highlandandislands,ruralspotlewis Date Modified Date on which the resource was changed. 28/07/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Meeting End Date 02/10/2024 Author sp259 Prim Media 256 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource October 2024 Partner Meeting - Stornoway Type The nature or genre of the resource Meeting Description An account of the resource 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. Date A point or period of time associated with an event in the lifecycle of the resource 01/10/2024 Language A language of the resource English Contributor An entity responsible for making contributions to the resource sp259@st-andrews.ac.uk Subject The topic of the resource INTANGABLE HERITAGE Identifier An unambiguous reference to the resource within a given context 107 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 10/09/2024 04:41:01 pm Spatial Coverage Spatial characteristics of the resource. current,58.20812845099779,-6.3871121406555185; Date Modified Date on which the resource was changed. 09/21/2025 04:26:50 pm Source A related resource from which the described resource is derived events,highlandandislands,outerhebrides Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Material metal Natural Cultural Cultural Prim Media 82 Function Weaving Creation Purpose For the home production of woven textiles Craft fibre and textile crafts Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hattersley Mechanical Loom Type The nature or genre of the resource Physical Object Description An account of the resource 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. Language A language of the resource English Subject The topic of the resource Industrial Heritage Contributor An entity responsible for making contributions to the resource cc274@st-andrews.ac.uk Identifier An unambiguous reference to the resource within a given context 57 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 02/08/2024 Spatial Coverage Spatial characteristics of the resource. current,57.67956396479307,-2.956817660344319; Date Modified Date on which the resource was changed. 15/05/2026 Source A related resource from which the described resource is derived tools,scotlandobjects,highlandandislands Creator An entity primarily responsible for making the resource 52 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT loom tartan textiles weaving https://culturality.museum/omeka/files/original/c118568b38f9ff466b13b6f8a347592e.png 7030a6fdccc374173346bdbabf20671c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Tour Author sp259 Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Woven_in_the_Bone_Studio_Tour_Tour Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Woven in the Bone Studio Tour Type The nature or genre of the resource Tour License A legal document giving official permission to do something with the resource. Creative Commons Attribution License Identifier An unambiguous reference to the resource within a given context 39 Source A related resource from which the described resource is derived examples,highlandandislands,studio,tours Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 04/07/2024 08:43:08 pm Spatial Coverage Spatial characteristics of the resource. current,57.67755082516866,-2.9667361932180114; Date Modified Date on which the resource was changed. 08/08/2025 04:01:39 pm Description An account of the resource A Tour of the Woven in the Bone Studio. Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://openvirtualworlds.viewin360.co/share/collection/7cMXN?logo=-1&info=0&fs=1&vr=1&sd=1&initload=0&thumbs=1 Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Natural Cultural Cultural Prim Media 1141 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hand Knitted ‘Gansey Style’ Woollen Blanket Type The nature or genre of the resource Physical Object Description An account of the resource 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. Contributor An entity responsible for making contributions to the resource sp259 Identifier An unambiguous reference to the resource within a given context 34 Source A related resource from which the described resource is derived 4scotlandunitedkingdom,craftedobjects,scotlandobjects,highlandandislands Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 05/04/2024 Spatial Coverage Spatial characteristics of the resource. current,58.11671064410715,-3.6541727313915695; Date Modified Date on which the resource was changed. 22/09/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/4-scotland-united-kingdom/