10 100 1899 https://culturality.museum/omeka/files/original/c7c80f9aec83c35310d9fc59dc200f12.jpg a41135d03c03bb8ae4da9d3a6b184dbb Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Podmore Potter's Wheel at Borgh Pottery Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:08:19 13:54:04 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Sopata 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 1155 Natural Cultural Cultural Function When the machine is turned the wheel spins and a potter 'throws' clay into the centre of the wheel. The potter then shapes the clay using the speed of the wheel to create energy and force to do so. Creation Purpose Functional tool for potters. Technique Factory production Material Source Unknown Conecept This artefact facilitates the the throwing of pots. After her hands, Sue (AAS_PR_001) acknledged that the Potter's Wheel was the second most important tool that she used. Production Quality Mass production by Podmore and Sons External ID AAS_AR_01 Field Worker Netty Sopata Craft ceramics Tool Factory Production Tools Material Wood. Metal.Plastic. 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 Potters Wheel Type The nature or genre of the resource Physical Object Description An account of the resource A 'Potters Wheel' used to throw clay to make pottery. Powered by electricity. Date A point or period of time associated with an event in the lifecycle of the resource Unknown Creator An entity primarily responsible for making the resource 234 Language A language of the resource English Extent The size or duration of the resource. 150cm x 100cm x 75cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 561 Source A related resource from which the described resource is derived tools,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). 30/09/2025 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 https://culturality.museum/omeka/files/original/3f8b85cfa3ca2e2c1d6a61c0f864eda1.jpg 59b163c7331ad0c142d3fe54c0937562 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Clay in sealed packaging. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:08:19 13:59:10 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Sopata 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 1157 Material Clay Natural Cultural Cultural Function It is a type of Clay used by Potters to create tableware and can be fired at high temperatures. Creation Purpose To create pottery products Technique Mass produced in a factory setting Material Source Stoke-On-Trent, England Conecept Without this type of clay Sue would not be able to produce tabeleware products to the standard required for sale to people to eat and drink from. Although there are different types of clay, this is the main type Sue uses. Sue describes clay as offering "the opportunity of form and colour and surface texture… you can just do everything with it." Production Quality Mass produced in a factory setting External ID AAS_AR_02 Field Worker Netty Sopata Tool Factory tools 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 Clay Type The nature or genre of the resource Physical Object Description An account of the resource Clay Extent The size or duration of the resource. 50cm x 30cm x 40cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 562 Source A related resource from which the described resource is derived tools,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). 19/08/2025 Spatial Coverage Spatial characteristics of the resource. current,58.41727124,-6.435816483466189; 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 https://culturality.museum/omeka/files/original/28dcd831ae730e7900868e26f1c195c0.jpg ea7eba180372c4a4e8df8c7b48d8de87 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Clay in clear packaging on workbench Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:06:04 17:26:52 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Sopata https://culturality.museum/omeka/files/original/bd7e05daa1ac286071181ab8fcc3926d.jpg c7fc41b4e147d6acde357275622b2ee2 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 A Pugmill Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:06:04 17:27:54 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Sopata 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 1160 Material Metal and Wood Natural Cultural Cultural Function To blend and kneed clay for potters Creation Purpose A functional tool for potters Technique Mass produced in a factory Material Source Unknown Conecept It is a tool that faciltates faster and ahigher quality of procustion in a a potter's studio. Production Quality Mass production External ID AAS_AR_03 Field Worker Netty Sopata Craft ceramics Tool Factory production tools Place The town or city Borgh Pottery, Isle of Lewis, Scotland Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Pugmill 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 Pugmill Type The nature or genre of the resource Physical Object Language A language of the resource English Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 563 Source A related resource from which the described resource is derived tools,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). 19/08/2025 Spatial Coverage Spatial characteristics of the resource. current,58.41727124,-6.435816483466189; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/644ed0450a770c260a73eba578fe2e79.jpg 0a53a1cba33d7ea85b0797945caad1a7 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Gas Kiln Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:08:19 14:08:46 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Sopata 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 1162 Material Metal Natural Cultural Cultural Function To fire pottery after it has been shaped. Gas kilns can be used to create different coloured glazes due to their ability to complete an oxidised firing process. This means the potter can control the oxygen within the atmosphere inside the kiln and thus make the flames seek the oxygen in the glaze and in doing so, create a oxidised red colour (if the pots have glazed in certain types of glaze). This is a specialised technique associated with chiness ceramics. Creation Purpose A functional tool for potters and ceramicists Technique Mass produced in a factory Material Source Unknown Conecept The specialised technique to create rich red glazes was a successful technique implemented by Sue nad her late husband Alec during the 1980s. Although these colours are no longer popular with customers Sure has recently reverted to using the gas kiln over the electric one due to it being more cost efficient. Production Quality Mass production External ID AAS_AR_04 Field Worker Netty Sopata Craft ceramics Tool Factory production tools Place The town or city Borgh Pottery, Isle of Lewis, Scotland Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Gas_Kiln 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 Gas Kiln Type The nature or genre of the resource Physical Object Description An account of the resource A Gas fired Kiln Date A point or period of time associated with an event in the lifecycle of the resource Unknown Language A language of the resource English Extent The size or duration of the resource. 150cm x 300cm x 100cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 564 Source A related resource from which the described resource is derived tools,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). 19/08/2025 Spatial Coverage Spatial characteristics of the resource. current,58.41727124,-6.435816483466189; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/a5af396b637dc15b8a718b348dd98b70.jpg 75d2240deb4b6ef5ce745b53bee6397a Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Eelctric Kiln Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:06:04 17:27:40 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Sopata 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 1164 Material Metal Natural Cultural Cultural Function To fire clay formed into shaes by ceramicists / potters Creation Purpose as a functional tool for potters / cermacists Technique Mass Produced in a factory setting Material Source Unknown Conecept AA_PR_001 explained the signifcance of kilns as turning mud and water into pottery. Without firing clay cannot be used in a functional way for eating and drinking. Production Quality Mas produced External ID AAS_AR_05 Field Worker Netty Sopata Craft ceramics Tool Factory production tools Place The town or city Borgh Pottery, Isle of Lewis Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Electric_Kiln 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 Electric Kiln Type The nature or genre of the resource Physical Object Description An account of the resource Electric Kiln Language A language of the resource English Extent The size or duration of the resource. 200cm x 200cm x 100cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 565 Source A related resource from which the described resource is derived tools,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). 19/08/2025 Spatial Coverage Spatial characteristics of the resource. current,58.41727124,-6.435816483466189; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/e836edcc7df68b7f4cb87673b8de6e0f.jpeg f9b70d4272b5b997eff27b5d0b22e70d Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 A replica of a traditional wooden 'Sgoth.' Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024_03_10 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. USTAN https://culturality.museum/omeka/files/original/555ce4bcf5b1eb935f95faead91d1111.jpeg d15bf631ecbc22144852381e415d10be Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 A replica of a traditional wooden 'Sgoth.' Bow close up (front of boat). Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024_03_10 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. USTAN 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 1166 Material Wood Natural Cultural Cultural Function Sailing Boat Creation Purpose Commissioned by a private collector Technique By hand as per tradtional Sgoth / Wooden built boat but ammended in size from replica inspiration of 'Callvicol' to 'Jubilee.' See AAS_PR_002 input for addional infomration on making process. Material Source Scotland Conecept Alhtough AAS_AR_0r is an artefact owned by a provate collector, the boats upon which she is designed are under the ownership of Falmadair, an organistion originally set up to work with Comunn Eachdraidh Nis Ness Historical Society to look after 'Jubilee' after her first renovation by John Murdo Macleod in the late 1970s. Her keel was laid by his father, John Finlay Macleod in 1935. Since then Mark Stockl ahas completed a number of restoration projects for the organisation. 'A Sgoth or Sgoth Niseach is a traditional type of clinker built skiff with a dipping lug rig, a Lateen style sail, built mainly in Ness in the Western Isles of Scotland. The boats were used as traditional fishing boats, particularly for line fishing, during the 19th century and until the early half of the twentieth century. ' (Falamdair 2025). This artefact was on display at the AAS RSI and has been scanned by USTAN for VERA. Production Quality As and when they are commisoned on a one to one basis. A 'Sgoth' is a particular style of dipping lug sailing boat used by fisheren in the North of Lewis of the Western Isles. This particular artefact, designed and built on the specifcations of 'Calvicol' and 'Jubilee' is a one off. External ID AAS_AR_06 Field Worker Netty Sopata Craft woodwork Tool Machine hand tools: Saw / Drill/Router. Hand Tools: Chisel / hammer Wood Steamer / Plank thinner. Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Wooden,_Diping-Lug_Sailing_Boat_(replica_build) 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 Wooden, Diping-Lug Sailing Boat (replica build) Type The nature or genre of the resource Physical Object Description An account of the resource This replica build Sgoth was commission by Alasdair Smith and built by Mark Stockl (AAS_PR_002). The Sgoth is based on measurements taken from Callicvol, (a Sgoth built by John Murdo Macleod in the 1970’s) but has been lengthened by a foot to create a proportional balance similar to the Jubilee (another Sgoth, renovated by Mark Stockl and used for lesiure sailing by Falmadair). Date A point or period of time associated with an event in the lifecycle of the resource TBC Creator An entity primarily responsible for making the resource 860,243 Language A language of the resource Scottish Gaelic Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 566 Source A related resource from which the described resource is derived craftedobjects,scotlandobjects,highlandandislands References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Falamadair. (2025, July 27). Falamadair North Lewis maritime Society . Retrieved from Falamadair: https://www.falmadair.org 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. Sgoth (replica build) Spatial Coverage Spatial characteristics of the resource. current,57.8644615848094,-5.121920998; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/57622d72e566e1fb05317da5b26c72ff.jpg aa87dec15ed2f2ca57e51e30e513f060 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 working chisel Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025_06_19 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. N.Sopata https://culturality.museum/omeka/files/original/e8090564b446222f7a60e36df9c64cda.jpg be73c41a960557632f80a43c1543f861 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Working Chisel on the work bench, with other tools, in the workshop belonging to AAS_PR_002 Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025_06_19 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. N.Sopata 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 1170 Natural Cultural Cultural Function Used to shape wood by hand / cuts / incisions etc Creation Purpose For wood workers / joiners Technique Produced in a factory within the UK Material Source UK Conecept Wood working chisel are used for traditonal hand making techniques applied when working with wood. Production Quality Mass Production External ID AAS_AR_07 Field Worker Netty Sopata Craft woodwork,metalwork Tool Unknown - mass produced Place The town or city 3 Loggi, Ullapool Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Chisel_(wood_working) 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 Chisel (wood working) Type The nature or genre of the resource Physical Object Description An account of the resource A wood working chisel with dark wooden handle and steel chisel. 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. 25cm x 2-3cm x 2-3cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 567 Source A related resource from which the described resource is derived tools,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). 19/08/2025 Spatial Coverage Spatial characteristics of the resource. current,57.8644615848094,-5.121920998; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/0a0628434ceac1e40a460a7c3259a740.jpg ca962c79d0128dd29d0c1569fc0aa457 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Plane Side View Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:08:19 14:25:53 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. N.Sopata https://culturality.museum/omeka/files/original/00897b20872e1db24c5a6c76e031c400.jpg 6b79bd4de70ffed27d1ef8078f439292 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Plane (Underneath) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:08:19 14:26:16 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. N.Sopata 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 1172 Material Wood and steel Natural Cultural Cultural Function To shape wood Creation Purpose As a hand tool for wood workers Technique Factory, mass production Material Source United Kingdom Conecept Designed and manufactured for wood workers. Production Quality Mass produced External ID AAS_AR_08 Field Worker Netty Sopata Craft woodwork,metalwork Tool Machine and hand assembled 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 Plane Type The nature or genre of the resource Physical Object Description An account of the resource Hand plane for shaping wood. Creator An entity primarily responsible for making the resource 860,243 Extent The size or duration of the resource. 25cm x 18cm x 6-7cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 568 Source A related resource from which the described resource is derived tools,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). 19/08/2025 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 https://culturality.museum/omeka/files/original/abb1b13137aedc91e8655af472e467d8.jpg e8838ebdd45d88277d4fc2b66f5676d1 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 inside a boat being rennovated, holding. Battery operated drill during the 'Riveting' Process Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025_06_19 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. N.Sopata https://culturality.museum/omeka/files/original/cad1db459bee0d3073abbba7032fd00d.jpg 8315d5f4aa89920129ac0293fbac4688 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Close up of a battery operated drill being used during the 'Riveting' Process Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025_06_19 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. N.Sopata 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 1176 Material Metal and plastic Natural Cultural Cultural Function To drill holes through different types of materials. Creation Purpose Designed and produced for construction work Technique Mass produced factory production Material Source Unknown Conecept No. But the ease of use facilitates faster production and reduces labour input Production Quality Mass production External ID AAS_AR_09 Field Worker Netty Sopata Craft metalwork,other (specify) Tool Factory production - unknown Place The town or city 3 Loggie, ullapool Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Battery_operated_hand_drill_ 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 Battery operated hand drill Type The nature or genre of the resource Physical Object Description An account of the resource Battery operated hand drill. Removable and rechargable battery. Used to drill holes / screws. Modern replacment for a hand turned drill. Language A language of the resource English Extent The size or duration of the resource. 35cm x 28cm x 15cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 569 Source A related resource from which the described resource is derived tools,scotlandobjects,highlandandislands References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://uk.milwaukeetool.eu/en-gb/power-tools/drilling-and-chipping/ 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,57.86446158 ,-5.121920998; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/f92aa36f3f12cde7a5f36da51913aea2.jpg 5dcb7335b2011c03549e1479cbd23206 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Stern (Under Repair) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025_06_19 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Sopata https://culturality.museum/omeka/files/original/b2f7114f64fb24bc2cbd149b72eb0f0d.jpg 50671d2642126900541543d22425014e Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Bow (from inside the boat) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025_06_16 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Sopata https://culturality.museum/omeka/files/original/413311d52c228443767f72678fd8f3b1.jpg e547bbd0cc2dc81368705d97be04686b Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 inside AAS_AR_10 Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025_06_19 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Sopata 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 1179 Material Wood Natural Cultural Cultural Function Used as a fising vessel. Creation Purpose Fishing vessel to catch fish for consumption / sale Technique Hand built by a boat builder Material Source Scotland Conecept This boat was used as a rowing boat for fishing. There are line marks worn into to the wood from fishing lines. This boat has particular cultural significnace having been built by the late John Finlay Macleod, father of John Murdo Macleod, who built Jubilee (see AAS_AR_05). This boat is now owed by a grandson of the late John Finlay Macleod. On New Years day, 1919, a ship transorting men home from the first world war sunk off the coastline of Stornoway. The loss of life on the 'Iolaire' had a profound affect of on the communities throughout Lewis. John Finlay Macleod was a survivor of the shipwreck and survived by swimming ashore, with a rope, which helped to save the lives of other men. Production Quality One to one bespoke production External ID AAS_AR_10 Field Worker Netty Sopata Craft woodwork,metalwork Tool Hand tools: Hand chisels / Hand planes / Hand Drills. This boat was bulit prior to power tools being designed and produced. Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Clinker 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 Clinker Type The nature or genre of the resource Physical Object Description An account of the resource Traditional wooden clinker built by Date A point or period of time associated with an event in the lifecycle of the resource 1930 Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 570 Source A related resource from which the described resource is derived craftedobjects,scotlandobjects,highlandandislands References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Macdonald, M., & MacLeod, D. J. (2018). The Darkest Dawn . Stornoway : Accair 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 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/5645c45a215c48a47c8c313fd7baed44.jpg afc07cbc2324f0b3d0f5de989bc09c64 https://culturality.museum/omeka/files/original/138ffb5c7eb2a88447ce5ae0766c1941.jpg 6346d213c21e9620b6b7e0297ec3d174 https://culturality.museum/omeka/files/original/64eddf79e89a1c7bfcea42a7f68e89ad.jpg 87eca12db83d3a70c3fc4f8205a60d35 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Top, Front and Side Image of the Melodeon Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-07-14 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Sopata 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 1182 Material Laminated wood and concertinaed paper (bellows) Natural Cultural Cultural Function To play music Creation Purpose To play music on Technique By hand Material Source Unknown Conecept Melodeon ‘tunes’ differ from area to area of the Western Isles, as do the differing dialects of the Gaelic language. The oral story telling, music and singing at social gatherings or ‘ceilidhs’ are interwoven in how they relate to one another. Many of the songs written for the melodeon were composed by Sailors at sea whilst homesick and traveling away from the islands. Production Quality High end production but not bespoke External ID AAS_AR_11 Field Worker Netty Sopata Tool Unknown 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 A ‘Horner’ Melodeon Accordian Type The nature or genre of the resource Physical Object Language A language of the resource Scottish Gaelic Extent The size or duration of the resource. 50cm x 40cm x 40cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 571 Source A related resource from which the described resource is derived 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). 19/08/2025 Spatial Coverage Spatial characteristics of the resource. current,58.484554,-5.25749941; 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 https://culturality.museum/omeka/files/original/e1b781e97fc25a8b95e4e8c66d927ba5.jpg eb03568bc12da5f4142ff8b6efff958d Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Chefs Knives. Top knife is a fish knife (used for scale). The Artefact is the every day knife below. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025_07_08 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Soapta 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 1184 Natural Cultural Cultural External ID AAS_AR_12 Field Worker Netty Sopata Place The town or city Cross, Ness, Isle of Lewis 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 Knife Type The nature or genre of the resource Physical Object Description An account of the resource Knive used by Chef Paul Moorby. The top knife (fish) is used fro scale. The bottom knife is the artefact. Language A language of the resource English Extent The size or duration of the resource. 35cm x 3/4cm x 6cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 572 Source A related resource from which the described resource is derived 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). 19/08/2025 Spatial Coverage Spatial characteristics of the resource. current,58.4733720257218,-6.283909406745984; 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 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 https://culturality.museum/omeka/files/original/078ebb5a13689e0348a7ccdff7306ac5.jpg 3fedd5e4c538696948720397e70ff337 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 wetstone blocks for sharpening knives. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025_07_08 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Paul Moorby 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 1187 Material Stone, with different levesl of abrasion Natural Cultural Cultural Function For sharpening knives Creation Purpose Functional use fro sharpening knives Technique Unknown Material Source Unknown Conecept A chef's knives are their most important tool. In his carrer (35years) Paul has only had four 'every day' knives. He has recently bought a new knife and is still getting used to it after eight months. The sharpening process is practice that chef. Paul, learnt at hte atrt of his career from a mobile knife sharpener. This cultural practice has changed significantly over the last century - knives can be sent away for sharpening, or practitioners learn to maintain their own. Production Quality Mass produced / Factory External ID AAS_AR_13 Field Worker Netty Soapta Craft other (specify) Tool Mass produced/factory Place The town or city Cross, Ness, Isle of Lewis Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Wetstones 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 Wetstones Type The nature or genre of the resource Physical Object Description An account of the resource Two wetstone blocks for sharpening knives. One 400/100 grain and one 3000/8000. Language A language of the resource English Extent The size or duration of the resource. 40cm x 4cm x 15cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 574 Source A related resource from which the described resource is derived scotlandobjects,highlandandislands References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Please see references for AAS_CP_004 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,58.47337203,-6.283909406745984; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/41e73b13aa4639ef0f985316f52b4838.jpg 6fcbdb18b4a3e5c330027d43765dcfe5 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 A Box of Tangible Prompts. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025_07_21 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Jon Macleod 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 1189 Material Wool, dried plant fibres, whale tooth (Ivory) and other. Natural Cultural Cultural Function To facitliate discussion with artists during The Muir is Tir artist residency. Creation Purpose As a prompt fro discussion/ inspiration / story telling. Technique Collected, cleaned and presented by hand. The items are in their raw state. Material Source The objects are from the landscape or sea area surrounding the Isle of Lewis. Conecept The box of objects is used to faciltiate discussion, inspiration and storytelling as part The Muir is Tir Artist residency. All of these objects have a connection to Lewis and as such have a story associated with them. See AAS_CP_005 for more information. Production Quality This box and collated objects is exclusive to Jon and the work that he does. External ID AAS_AR_14 Field Worker Netty Sopata Craft woodwork Tool None 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 A Box of Tangible Prompts Type The nature or genre of the resource Physical Object Description An account of the resource A Box of Tangible Prompts. This artefact is a wooden box containing a number of tangible objects connected to the Isle of Lewis. This collection is used as a discussion prompt when Jon is hosting the Muir is Tir – Land and Sea artist residency. See AAS_CP_005 for more infomration on the residency. Language A language of the resource Scottish Gaelic Extent The size or duration of the resource. 30cm x 10cm x 20cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 575 Source A related resource from which the described resource is derived scotlandobjects,highlandandislands References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://www.sailbritain.org/muir-is-tir-residency/ 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,58.484554,-6.25749941; Date Modified Date on which the resource was changed. 26/08/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/43ba05523f465a5829e72b6d1d3a8e07.jpg 6fcbdb18b4a3e5c330027d43765dcfe5 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 A Box of Tangible Prompts used for Muir is Tir Artist Residency Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:08:19 15:14:54 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE 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 https://culturality.museum/omeka/files/original/66e2ae8ed585828b553413d1b43165e0.jpg 7b55fd2753bcb22ebac3139e20164ce0 https://culturality.museum/omeka/files/original/b812ef0e74f6bbea9f07c5895d5c4e2e.jpg fc2b104e7a8ba758700bfe942b742fd6 https://culturality.museum/omeka/files/original/f21980dd631c3bc7987616428acbe431.jpg b1e1495bfbecee7d61e35e6a686fb823 https://culturality.museum/omeka/files/original/32dfaf5e6db6aeb6f5dd42a4590eba5a.jpg 37337a20f52846440efe13519c844f71 https://culturality.museum/omeka/files/original/ff08cfc25decfe97c003dc5e999471a4.jpg 4f736bb1df2cffb161b38ef7a9c3b19b https://culturality.museum/omeka/files/original/6fecc5368442589562216c054a3921ce.jpg 1ff630fd273f48fdaafc449b4b271866 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Víctor García Rodríguez's workshop Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-06 Spatial Coverage Spatial characteristics of the resource. current,42.9407,-6.57125; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Olaya Alonso López https://culturality.museum/omeka/files/original/0b367293660d91c5220a65b426549655.mp3 42f3fa520ef23bdadd21b2f97bdb24ed Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. 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 Interview with Víctor García Rodríguez Type The nature or genre of the resource Sound Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource audio/mp3 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-06 Spatial Coverage Spatial characteristics of the resource. current,42.9407,; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. SOUND Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Olaya Alonso López Artisan An artisan Contact laguaridadelcunqueiru@gmail.com Author iain Email The email address of the museum. laguaridadelcunqueiru@gmail.com Phone The phone number 34 660 69 00 00 Prim Media 1193 Biographical Text Since the age of 18, he has pursued a career as an entrepreneur in the field of traditional crafts. He learned the trade of cunqueiro at 12-13 years old, a profession that had disappeared since the 1970s-80s, which he inherited from his uncle Victorino. Initially, it started as a hobby, but at 18, he decided to professionalize his craft, combining it with tourism. He chose to stay in his homeland, contributing to the preservation and promotion of this traditional trade. External ID ESPTOR_PR_01 Knowledge Acquisition The practitioner acquired their knowledge and skills through a combination of family heritage, hands-on experience, and cultural immersion. They began learning the craft at 12 or 13 years old from their uncle Victorino, who had revived the trade after it had nearly disappeared. This craft was once the economic backbone of entire families in the valley, where nearly 400 people lived, but over time, due to industrialization, emigration, and changes in market demand, it faded. Traditionally, adult men would leave in organized groups each winter, traveling across Spain selling wooden bowls and utensils, while women, children, and the elderly maintained the household and livestock. These transhumant craftsmen followed established routes, reaching places like Madrid, Galicia, Catalonia, and Andalusia, producing and selling their goods until early spring. This way of life lasted until the 1950s, when mining jobs and the rise of porcelain and ceramics made wooden bowls less necessary. By the 1980s, the last traditional cunqueiros had disappeared, with only a few artisans continuing the trade at home. Victorino, a former miner, relearned the craft entirely on his own, setting up a lathe and making wooden bowls as a hobby before realizing that tourism could offer a way to sustain the profession. He established a craft workshop and began offering guided visits. This is where the practitioner became immersed in the trade, first as a child drawn to the craft, then as a hobbyist, and eventually as a professional, producing pieces for sale before becoming self-employed. In the early 2000s, Victorino founded El Rincón del Cunqueiro, with the practitioner’s mother, Rosa, also getting involved. She worked as a nature guide in the Muniellos Natural Reserve but soon began leading visits to the workshop and crafting percussion instruments like tambourines and castanets. In 2020, after Victorino’s passing, the workshop relocated due to inheritance disputes, leading to the creation of La Guarida del Cunqueiro, a new space for continuing the craft. However, after Rosa’s passing in 2024, operations slowed down, though the intention remains to continue the work. Beyond making bowls, the practitioner also creates tambourines, castanets, small vessels, and occasionally furniture, keeping their skills constantly active through commissions or personal satisfaction. They value variety, seeing repetition as tedious, and strive to maintain an active and evolving practice. Additionally, they have an interest in blacksmithing, recognizing it as a central trade that supports many others. Without a blacksmith, many traditional woodworking tools cannot be made or maintained, making this skill essential. While they have learned some metalworking, they hope to develop this ability further. However, finding active blacksmiths is becoming increasingly difficult, with only a few remaining in the region, mainly those specializing in knife-making in Taramundi. Knowledge Transfer The practitioner used to offer experiential workshops where participants could try their hand at the craft and learn about the trade. These activities provided an opportunity for people to engage with traditional woodworking techniques, but most participants approached it as a hobby rather than a profession. However, due to personal reasons, they ceased these activities a year ago, though they now plan to gradually restart them. Field Worker Olaya Alonso López AI Tools Yes AI Content ChatGPT. The interview was manually structured and transcribed into text in Spanish (informal language). Due to the immense amount of time required to process all the materials and to alleviate the workload, the AI was asked to take this information (one question at a time) and adapt the answers into more academic language in English. All answers have been checked to ensure they convey the intended information. The original transcription draft in Spanish is also attached for reference. Gender male Area Relation native Occupation woodwork knowledge1 The practitioner must have a deep understanding of both natural cycles and traditional woodworking techniques. The process begins with observing the moon phase, as wood is always cut during the waning quarter. This practice, rooted in both tradition and science, ensures that sap levels are lower, making the wood denser, more resistant to pests, and more durable over time. Deciduous trees are primarily used, and they are cut in winter when they enter their vegetative dormancy. Once felled, the trees are left in the forest for two to three months to "bleed out" the sap before being trimmed and processed. Thick branches are either used for firewood or woven into structures for land restoration. When preparing the wood for turning, the tree is cut into sections, but never into horizontal slices, as the vertical fibers of the wood would cause it to crack outward from the center. Instead, the practitioner cuts the log into two semi-circular halves, flattens one side with an axe, and marks the maximum diameter of the intended piece. The next step is “escornar”, where the rough outer layers are removed to create a more defined shape before securing the piece to the lathe. The shaping process is then refined using gouges, and the interior is hollowed out before sanding. The wood must then dry for two to three months in sawdust or in a controlled environment where it is shielded from direct air and sunlight to prevent cracking. The basic turning and shaping process may take between 30 minutes to an hour, but the drying and final refinement extend the timeline significantly. The time required for each piece varies greatly. A standard 15 cm bowl may take around 45 minutes to an hour, while more complex pieces such as tachadeiras (chopping boards) require two to three hours, and cimbreiras (lidded containers) can take anywhere from eight to fifteen hours, as their lids must fit with airtight precision. However, beyond the manual crafting time, the entire process includes tree selection, felling, drying, and finishing, making the actual production timeline much longer. For example, making a tambourine (pandereta) requires extensive preparation. Shaping the wooden rim might take an hour, but the raw wooden strip must first be cut in five minutes, then soaked in water for a week to regain flexibility. Bending it into shape takes another 30 minutes, after which it must dry for four days before being glued and left to set for another two to three weeks. After that, the frame is drilled, fitted with metal jingles, and finalized—totaling around 3 or 4 hours of labor over a 15-day period. By comparison, wooden bowls are much faster to produce, though they still require careful drying and finishing. material1 The practitioner primarily works with locally sourced hardwoods such as birch, walnut, ash, maple, and chestnut—woods native to the surrounding forests. material2 The practitioner sources materials locally from the forest. Within the protected natural park of Muniellos (Asturias), there are specific regulations to follow, but residents are entitled to a quota of both living and dead wood per inhabitant. A forest ranger determines what can be cut based on sustainability needs. While the regulations impose certain restrictions, they also prevent large companies from overexploiting the forest. For traditional crafts, a special exemption was secured years ago, allowing artisans to access a larger quota, particularly of live wood. The wood must be cut during the waning moon, left in the forest for a period, and then retrieved. This process ensures the best quality material while maintaining ecological balance. The park authorities have generally been supportive, and in many cases, wood is also sourced from private landowners. A key principle in sourcing materials is respect for the environment. It’s not just about selecting any tree, but understanding which trees should be cut to promote forest health. The older generation practiced long-term thinking, cutting weaker trees to allow stronger ones to thrive, ensuring a sustainable future. While modern attitudes tend to be more exploitative, prioritizing short-term gain, regulations help safeguard the traditional wisdom of sustainable forestry management. material3 The practitioner manages leftovers by keeping larger pieces of wood, which are used for heating homes with firewood, given that many homes in Trabau do not have electric heating, but instead, retain their old wood stoves. production1 The practitioner employs a range of traditional woodworking techniques, beginning with "escornar"—removing the outer layers of a wooden log with an axe to prepare it for further shaping. This is followed by carving with gouges and working on the lathe, where precision tools refine the form of the piece. Beyond the technical process, the craft is deeply rooted in cultural heritage. Historically, cunqueiros traveled across the Iberian Peninsula selling their work for months at a time, carrying with them a unique language and professional jargon. The practitioner takes pride in preserving and continuing this legacy while also expanding the craft to produce items such as castanets, tambourines, and small wooden vessels. At the core of the practice is the tactile and creative connection to the material—transforming a raw, formless block of wood into a refined object guided by both manual skill and cognitive development. Traditional woodworking, despite often being passed down without formal education, demands a deep understanding of materials, cutting techniques, and craftsmanship. production2 The practitioner uses a variety of tools to shape the wooden pieces. These include specialized metal tools, often custom-made by a blacksmith, as they are essential for the craft but not easily obtained in a mass production system. The tools used include a chainsaw to cut down the tree and chop the wood, an axe, a pencil, a compass, a measuring tape, a lathe, and gouges. These are the primary tools used for the entire process. production3 The practitioner has a deep connection with the tools they use, many of which were inherited from Victorino, while others were purchased from a blacksmith or gifted by one when they began working. Some were made by Victorino and the blacksmith, but they don't cut as precisely as tools crafted by a professional blacksmith. The tools are very important to the practitioner, especially the ones passed down from Victorino, not just for their functionality, but also for the sentimental value attached to them. The practitioner takes great care in maintaining these tools, regularly sharpening them to ensure they cut properly and always storing them in a dry place to prevent rust. While some tools, like the chainsaw and sander, are used for finishing the pieces, the manual process is still dominant in shaping the wood. These tools are invaluable, especially as they become increasingly difficult to find. Despite the challenges, there has been no change in their use; to work effectively, they must continue using tools like gouges for the lathe and axes for shaping the wood, as mastering these techniques is key to the craft. production4 The practitioner’s work does not require electricity, except for basic lighting to see while working. Since they work during the day, natural light is usually sufficient. When needed, the electricity comes from a standard power supply. There is no heating system in the workshop. production5 During production, the practitioner generates various types of waste, primarily wood shavings, sawdust, and scraps from cutting and shaping the wood. These byproducts are managed in an environmentally responsible way, with most being composted. The composted material is then used as feed for cattle or as fertilizer for gardens and crops. A few years ago, the practitioner also took part in several tree-planting programs, where they composted sawdust and used it to plant trees in biodegradable trays, contributing to reforestation efforts in degraded or burned areas. workshop The practitioner’s workshop, known as La Guarida del Cunqueiro, was established in 2021, though they have been active since 2005 (El Rincón Cunqueiro, de Victorino). products1 The practitioner produces a variety of traditional wooden items, with a strong focus on functional and practical pieces. These include cachus (wine cups), tachadeiras (a type of bowl), cimbreiras (larger bowls), escudienda, and barbeiras (used for shaving), as well as the morteiro (used for grinding garlic). These items traditionally formed the tixela, a specific type of household ware, which the practitioners used to be called tixileiros. However, due to their proximity to Galicia, they were also referred to as cunqueiros because they made cuncas (bowls). Over time, the term "cunquero" became more widely accepted, even though it originally carried a sense of simplification, focusing mainly on the production of bowls. While the practitioner still makes these traditional items, such as cachus and tachadeiras, they also create other objects depending on what inspires them at the moment. The choice of wood and design is deeply connected to their feelings and the characteristics of the wood itself, with the practitioner often letting the material guide the shape and form of the piece. Additionally, they distinguish between artisanal craftsmanship and art, considering their work more linked to cultural heritage and practicality, even though they sometimes venture into artistic creations. products2 The practitioner primarily produces these items for sale, as a means to make a living. While they occasionally create pieces for personal satisfaction, they are careful not to become too attached to any one item. They approach their craft pragmatically, treating each piece as if it were for themselves, but always keeping in mind the need to set a price and ultimately sell the items. products3 The practitioner primarily sells their items at the workshop, where they also offer guided visits. They also exhibit at the Parador de Corias and a local bar. Although the practitioner does not have an online store, they showcase their products on social media, sharing the prices and availability. If an item sells, they inform potential buyers that it's no longer available. Most sales come from larger custom orders, which are necessary for the business but limit creative freedom. While commissions are important for generating income and attracting interest, they feel that being tied to making specific pieces can restrict their artistic expression, as they prefer to work freely based on what inspires them in the moment. products4 The practitioner offers several services, including the sale of wooden products, one-off classes for those who want to learn the craft, and tourist services such as guided tours of the workshop and the natural surroundings. products5 The practitioner does not primarily offer repair services, but they occasionally restore antique wooden pieces or create replicas of specific items. However, this type of work is challenging, as it requires specialized techniques and comes with a significant level of responsibility and commitment. products6 The practitioner’s customers are a broad audience, as their products range from small items like keychains and magnets to larger handcrafted wooden pieces. There is no specific target audience; rather, customers find the practitioner through visits, social media, fairs, and other events. products7 The practitioner does not prioritize formal certifications but values authenticity and personal connections with their work. While certifications can be useful, they believe they often lead to standardization and can sometimes be misused by people claiming authenticity when their products are not truly handmade or artisan. For the practitioner, the most important certification is their own personal seal of approval. They offer a unique handmade stamp on each piece, which includes a QR code linking to a website that explains the history and story behind the item. tourism1 Yes, the practitioner has been engaged in tourism-related activities for years, offering guided visits to the workshop, nature excursions, landscape interpretation, and even bear-watching experiences. These activities have evolved over time, with some being reinvented or replaced as needed. The majority of tourists are domestic, but international tourism has been increasing. However, the language barrier is a challenge in the region, as few locals speak English. Because the practitioner can offer tours in English, many international visitors—mainly from Belgium, the Netherlands, and Germany—end up booking experiences with them. These tourists often seek immersive guided experiences, spending several days in the area with a dedicated guide to ensure smooth communication and a deeper understanding of the environment. tourism2 "El oficio, per se, carecería de sentido a nivel productivo, lo que pasa que tienes que de alguna manera darle forma a nivel turístico para que todo aquel visitante o toda aquella persona que visite esta zona pueda disfrutar de un oficio tradicional, de sus raices y del conocimiento que conlleva todo el oficio; no solo de la técnica en sí de hacer cuencos de madera que cuencos de madera se hacían y se hacen en muchos lugares del mundo, sino de la cultura cunqueira impresa dentro de ese marco, vamos a decir, que es el oficio tradicional en si" partnership The practitioner is an active member of their local community, which they consider the most important group they belong to. They participate in co-creation spaces and projects whenever invited and when they feel their contribution can be valuable. They collaborate with anyone whose work benefits the region, including other practitioners and initiatives that support local heritage and traditional crafts. Additionally, they have previously collaborated with academia, having taught courses at the university extension for five years. challenges1 The practitioner faces multiple challenges, mainly related to the sustainability of his craft, life in a rural environment, and the socioeconomic context affecting traditional trades. One of the biggest problems is the tendency to romanticize artisanal trades without considering their economic viability. He believes it is essential for these trades to be profitable in order to endure over time; otherwise, they end up becoming mere museum pieces with no real impact on the lives of those who practice them. For this reason, he insists that it is not enough to recognize the cultural value of artisanal work; it is necessary to ensure that those who practice it can make a dignified living from it. Economic sustainability depends on diversifying activities, combining artisanal production with tourism, agriculture, and other sources of income that allow for a balance between profitability and respect for resources. Without this diversification, the trade becomes a difficult burden to sustain rather than a true way of life. In this regard, the training and workshops he offers are not just recreational activities for those seeking a fleeting experience, but real opportunities for people to learn how to make a living from these trades. It is not just about teaching a technique but showing how to make it profitable without losing the essence of artisanal work. Another fundamental challenge is finding a balance between preserving tradition and evolving so that the trade remains relevant in today’s world. He does not believe in standardizing working methods or in the idea that all artisans should follow the same model, as he considers that the true richness of these trades lies in the freedom of each person to develop them in their own way. For him, culture and knowledge must be in constant transformation and adaptation to new realities; otherwise, they end up disappearing. Depopulation and the lack of neighbors to collaborate with are constant challenges in rural areas. The absence of new generations interested in these trades makes it increasingly difficult to continue traditions and to find colleagues or partners to develop projects with. In addition, regulations and laws, instead of facilitating life in the countryside, often complicate it, limiting residents’ ability to carry out their activities in a sustainable and autonomous way. He also questions society’s perception of rural and artisanal work. He believes there is a contradiction in how many people view life in the countryside: on the one hand, they idealize these trades as something exotic and worth preserving, but on the other hand, they continue to see urban jobs as the only viable option. This mentality makes it harder for more people to truly commit to making a living from traditional trades, as they are often seen as mere tourist experiences rather than real means of livelihood. Finally, the lack of adequate public policies represents another major obstacle. Instead of supporting those working in rural areas, many regulations end up becoming bureaucratic barriers that restrict residents’ freedom to develop their own projects. For the practitioner, the key is to find real solutions that allow these trades to continue to exist—not just as part of cultural heritage, but as a viable and sustainable livelihood for those who choose to dedicate themselves to them. challenges2 Porque al final si no puedes vivir de eso, por mucho que quieras no lo vas a poder hacer. [...] Si tu quieres que los oficios de alguna manera, perduren en el tiempo, tienes que enseñar a la gente como hacerlos rentables y vivir de ello. Es la línea entre sostenibilidad-rentabilidad. references 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]. Social Media The social media links. facebook,https://www.facebook.com/laguaridacunqueira;instagram,https://www.instagram.com/laguaridadelcunqueiru; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/García_Rodríguez,_Víctor 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 Víctor García Rodríguez Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1992 Language A language of the resource Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 577 Source A related resource from which the described resource is derived artisans,asturiasmap Spatial Coverage Spatial characteristics of the resource. current,42.959326,-6.644387; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. García Rodríguez, Víctor 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. http://laguaridadelcunqueiru.com Artisan An artisan Contact info@negroazabache.es Author iain Email The email address of the museum. info@negroazabache.es Phone The phone number 608 00 78 42 Biographical Text Sveta was born in Leningrad, but from a young age, she moved to Spain. A key point in her biography is that she had a stable job in an office, which was very stressful for her. At that time, her partner gave her a jewelry-making course as a gift, which she loved and enjoyed from the very first day. After a year of classes, Sveta began to think about dedicating herself to jewelry professionally. At the same time, she started a jet jewelry course (azabachería) with María Pérez. While she was taking the course, she was laid off from her paid job. This led her to make a definitive decision: to fully dedicate herself to the art of jet jewelry. With the money she received from the layoff, she started buying the tools for her workshop, initially opting for second-hand ones because professional tools are quite expensive. She has now been working in this craft for two years. In addition, she also works as a shop assistant in the store owned by María Pérez in the town of Villaviciosa, where she also handles some of the repair requests that come into the shop. External ID LAPONTE_PR_04 Knowledge Acquisition In a jewelry-making course and in another course on jet carving taught by the artisan María Pérez. Knowledge Transfer She has also taken a few short one-day courses. Field Worker Carmen Pérez Maestro Gender female Area Relation incomer Occupation metalwork Involvment full-time paid job knowledge1 It is essential to recognize that the raw material used is authentic Jurassic jet, to understand its unique characteristics, and to be well-versed in the carving techniques required for working with it. Additionally, it is crucial to be familiar with the techniques employed in jewelry craftsmanship. material1 Sterling silver, Jurassic jet from Villaviciosa, and some semi-precious stones. material2 She buys the silver from a national distributor, though she does not know which mine it comes from. The jet is local, collected from spoil heaps and purchased from the son of an artisan who no longer works with jet. The semi-precious stones are of unknown origin, and she is currently searching for companies that practice ethical sourcing of these stones. material3 It does not generate any waste. production1 She applies jewelry techniques to work the silver (incluida la fundición) and the with jet. Cutting, carving, and polishing are the processes followed to work the stone. production2 90% of her tools are second-hand. For jewelry making, she uses manual tools (such as a jeweler’s saw, hammers, and a hand file). For working with jet, she uses dental prosthetic tools that operate with a micromotor, such as diamond discs and tungsten carbide burs. She also uses an electric polishing machine. production3 One of her favorite tools is a small file, the first tool she bought when she was still a jewelry student. She believes that it allows her to finish her pieces much better. production4 Electricity production5 The dust produced when carving the jet is collected and mixed with glue to repair pieces, helping the repairs blend in with a black color. workshop Her workspace is located in her own home, furnished with second-hand furniture as well as pieces she made herself. It’s a small room (about 20 square meters) with a large window. products1 She creates personal adornment pieces such as earrings, pendants, and rings. One of her distinctive features is making jewelry that uses jet almost in its raw form. Currently, most of her work consists of custom orders or the restoration of pieces brought in by clients. products2 For sale products3 At markets and in the artisan María Pérez’s shop. products4 Most of her products are custom orders from individuals and repairs. products5 yes products6 The custom orders come from local people, while the pieces sold at markets and in the shop are mostly purchased by tourists. products7 No tourism1 People from other places also buy her pieces. On one occasion, she coordinated with a tour guide to showcase the craft of jet jewelry. tourism2 “When I’m at coastal markets, basically the summer ones, I sell much more to tourists than to local people, unfortunately, because visitors from outside have a much higher purchasing power than the locals, and that’s very sad…” partnership She is the president of the "Association for the Defense of Jurassic Jet." challenges1 The generational handover is a challenge, as there is no raw material available because the mines are closed and reopening them is not permitted. Raising awareness about the properties of Jurassic jet compared to other materials like lignite is important. Documenting the work processes is also essential, as well as promoting the ancestral history of this craft. challenges2 “Jet has thousands of years of history. The oldest piece we have in the archaeological museum is dated between 17,000 and 19,000 years old, and it will disappear with us—the only artisans of this generation—because we cannot reopen the mines.” references https://www.lne.es/villaviciosa/2025/04/13/svetlana-poutilina-prueba-distinga-azabache-116214877.html Social Media The social media links. instagram,https://www.instagram.com/negroazabache.joyas/; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Poutilina,_Swetlana Prim Media 1197 Shop https://negroazabache.es/product-category/joyeria-tradicional/ 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 Swetlana Poutilina Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1982 Language A language of the resource Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 578 Source A related resource from which the described resource is derived artisans,asturiasmap Spatial Coverage Spatial characteristics of the resource. current,43.368135,-5.587614; 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. Poutilina, Swetlana 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://negroazabache.es/ Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain https://culturality.museum/omeka/files/original/3328fe06d65135b28aea3033d198b2bb.jpg 698e25860ad6c7ba932cf54a5f14a315 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Swetlana Poutilina in her workshop Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-05-02 Spatial Coverage Spatial characteristics of the resource. current,43.368135,-5.587614; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/4a6afe5a8a77b229b58d011feedf4196.jpg 3421b868ddb26d771ce08d9df8803bd1 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Work table in Swetlana Poutilina’s workshop Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-05-02 Spatial Coverage Spatial characteristics of the resource. current,43.368135,-5.587614; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/20d1ce87201b68327ca0bc9ff3f56edd.jpg c89143cfbd3baca5dca36c8044d72294 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Swetlana Poutilina’s work tools Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-05-02 Spatial Coverage Spatial characteristics of the resource. current,43.368135,-5.587614; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/de7acae2908a5258996f3f58060918b1.mp4 1291264aa525ceae9fd0c14afcac3525 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. 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 Interview with Swetlana Poutilina Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-05-02 Spatial Coverage Spatial characteristics of the resource. current,43.368135,-5.587614; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro 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/galleries/upload/LAPONTE_PR_04_01_.mp4 https://culturality.museum/omeka/files/original/157e72195667eda515d8bbab2a61c20b.jpg 89bf975ad0b9538e1f85d3ec16e08886 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Raul Fernández Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-05-05 Spatial Coverage Spatial characteristics of the resource. current,43.27386,-6.0009365; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/2e886554cad07e5b42dd1970155c1ef1.jpg d9781d1ec5adc1965ce43680ea180f13 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Raúl Fernández in beekeeping management Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-05-29 Spatial Coverage Spatial characteristics of the resource. current,43.27386,-6.0009365; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Maria José Tudela Castro https://culturality.museum/omeka/files/original/11e1ee0ed47f58a100e1d6846027d146.jpg 1d93f2ff7e4ed8e0e06e8a4b38ce4ef8 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Raúl Fernández next to the beehives Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Spatial Coverage Spatial characteristics of the resource. current,43.27386,-6.0009365; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Maria José Tudela Castro Artisan An artisan Author iain Phone The phone number 677 361 264 Prim Media 1201 Biographical Text Raul holds a Master's degree in Agricultural Development and Food Systems from the Institute of Social Studies in The Hague. After completing his studies, he decided to dedicate himself to beekeeping in his family’s region of origin, and he now works full-time in this activity. He began this work in 2018 with 15 hives, and he now manages a traditional beekeeping operation with hives located in the Babia and Luna Natural Park (León) and the Ubiñas-La Mesa Natural Park (Asturias). External ID LAPONTE_PR_08 Knowledge Acquisition He was introduced to the craft by his uncle, whom he had been assisting since childhood. Knowledge Transfer He is accompanied by another young person who is learning the practice. Field Worker Carmen Pérez Maestro Gender male Area Relation incomer Area Reason Born and raised in the Netherlands, from a family originally from Spain, specifically from the village of Babia in the province of León, relatively close (about an hour and a half by car) to where he lives. He carries out his beekeeping work in both mountain ranges, the Leonese and the Asturian. knowledge1 His knowledge combines a deep understanding of bee biology, the local landscapes where the hives are placed, and the methods and seasonality of honey extraction. material1 Wax, hives, and glass jars. Honey is made by the bees through the careful management of the beekeeper. material2 In the early days, although bees naturally produce wax through specialized glands, the small number of hives meant that wax was scarce. To meet his needs, Raul purchased wax from other beekeepers. One common practice in the beekeeping community is to melt down wax that has already been heavily used by the bees to create new wax blocks, which circulate in a sort of informal marketplace among beekeepers. As his operation grew, he eventually became self-sufficient in wax production. The hives he uses are mostly purchased from Spanish manufacturers, though some were inherited. The honey is collected and stored in glass jars, which are also commercially sourced. material3 There is nothing disposable in the type of beekeeping Raul practices. Even heavily used wax is not discarded—instead, it is melted down into blocks to be reused in the hives or repurposed for making candles. This circular approach reflects the sustainable and respectful relationship he maintains with both the bees and the environment. production1 Raúl selects the location of the beehives, which is one of the most critical processes for high-quality beekeeping. In this case, the area is rural and mountainous, situated in protected natural spaces and far from any source of pollution. He has beehives in two locations. In one, the apiary area is protected by an electric fence. In the other, the hives are placed inside a cortín—a traditional stone structure that forms part of the tangible heritage associated with traditional agriculture. Working in the cortín is challenging due to difficult access, poor path conditions, and steep terrain. Once the honey is produced in the hives, Raúl removes the honeycomb frame using a hive tool. In his workspace, he uses a centrifugal machine to extract the honey from the cells. The honey is then filtered to remove wax particles and other debris, and finally packaged for sale. production2 The smoker, the frame lifter, and the hive tool are essential tools for removing the frames, along with a centrifugal honey extractor machine. production3 He has a special fondness for an old bellows smoker that he inherited from a friend in Villanueva de Santo Adriano, who had, in turn, inherited it from his grandfather. production4 In the workshop, he uses electricity and a pellet stove to keep the space warm. production5 No waste is generated during the management of the hives and the extraction of honey. workshop He previously used a manual crank extractor, but with the increase in the harvest, he invested in an extraction room (made with stainless steel and powered by electricity) using materials approved by a veterinarian. He built the room by renovating a former stable and installed a pellet stove to keep the space warm. The pellets are sourced from Asturias. products1 Honey and candles products2 For sale and personal consumption products3 At the markets. products4 None products5 No products6 Local people and tourists, mostly from within the country. products7 No tourism1 The only connection he has with tourism is through the sale of his products—honey and candles—at local markets. tourism2 – partnership He belongs to the association Apas (Association for the Protection of the Asturian Bee) and to the association "Estas en Babia", which promotes local products. He also collaborates on a research project involving the Universities of Oviedo, Girona, and León focused on the Asian hornet (Vespa velutina), a predator of bees. Traps have been installed in the areas around his hives to test their effectiveness. challenges1 Controlling bee predators—especially the Asian hornet (Vespa velutina)—and repairing the access routes to use the cortines are major concerns for Raúl. He often feels very alone in his profession for several reasons: there are no veterinary services available, he is sometimes forced to sell honey in bulk, and prices are very low. In short, he faces challenges related to the biology and management of the hives, as each hive is a unique world in itself, as well as difficulties around valuing traditional beekeeping practices. Politically, while the importance of honey is promoted, the importation of foreign honey at very low prices is allowed, which harms local production. This has led to the presence of bottling companies that sell very cheap honey of questionable quality. Another challenge is obtaining the official logos of Asturias’s natural parks to place on the honey jars, so buyers can see that the product comes from that mountain area. This requires collaboration between the territorial administration and the people who manage the land. challenges2 When he talks about imports from abroad at a very low price, he says: "La gente no entiende que estas colmenas vienen de 1.300 m.s.n.m., y un acolmena no me da 50 kl, me da 20 kl como mucho, ahora la miel no me la compares…. Ante esta situación no hay nada que hacer, excepto el reinventarse..." references See bibliography on beekeeping in Asturias in the file LAPONTE_CP_04. Social Media The social media links. instagram,https://www.instagram.com/miel_vadabia/; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Fernandez,_Raul 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 Raul Fernandez Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1991 Language A language of the resource Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 579 Source A related resource from which the described resource is derived artisans,asturiasmap Spatial Coverage Spatial characteristics of the resource. current,43.27386,-6.0009365; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Fernandez, Raul Artisan An artisan Contact ingridlarssen62@gmail.com Author iain Email The email address of the museum. ingridlarssen62@gmail.com Phone The phone number (+47) 99157544 Biographical Text The practitioner dedicates herself to artworks with different kinds of textile as wool and silk. Uses a special technique called "Smocking" (Vaffelsøm). Combine the textiles with algea and seaweed. Natural dying of the textiles. External ID MN_PR_04 Knowledge Acquisition She learned from her mother and she went to sowing school, initially at "Melbu", Vesterålen. Knowledge Transfer Only by order. Not every technique, but some basic sowing. Field Worker Julie Therese Sæther Gender female Area Relation native Occupation fibre and textile crafts,metalwork,artist knowledge1 To sow "vaffelsøm" (smocking) and how to colour textiles with materiale found in nature f.ex. with sea orchin material1 Wool, silk and seaweed material2 She buys textiles or gets it from friends, and the seaweed she finds by the ocean material3 She reuses every leftover production1 Vaffelsøm or smocking in English production2 Sowing needles, scissors and graph paper (millimeterpapir) production3 Her tools are essential for the craftmanship, she cant work without it. The tools are mass produced as needles for sowing, scissors and graph paper. production4 Normal electricitypower (mostly hydropower) which is the common and prefered source of energy used in Norway. She practice her craft in her house. production5 There are no waste. The seaweed she doesnt use can be thrown back into the sea. workshop Her workspace is in her home. products1 The items are artwork inspired by the sea. Artworks with mentioned materials. She produces detailed brooches, artworks, and decorative textile pieces that can be used as ornamental clothing. products2 To sell it and to have them in exhibitions products3 At exhibitions or from her home, no digital platform, but can be contacted through email or her artist profile at the Norwegian craft artist website products4 The practitioner may produce art on comission from private and institutions products5 Nothing else than her own artwork products6 Private people, institutions, tourists products7 Nothing more then artists signature/name, unique style and technique tourism1 The tourists can visit her exhibitons at art galleries. Local cultural events/week. Art on display. Western tourism during summermonths, Asian tourism during winter months (roughly divided) tourism2 Det er jeg ikke involvert i, bortsett fra med de turistene som kommer innom utstillingene. partnership The practitioner is a member of "Norwegian craft artist", currently involed in a project with Canada. Cooperate with institutions on production of art for decoration. Involved in exhibitions in Museums. challenges1 The artist is recognized on a national level and receive funding by state programs for artists. Her motivation is creativity, sales are a bonus to keep funding the art. challenges2 Det som er problemet med dagens synåler er at de for kort, slik at man får vondt i fingrene. references Practitioners CV and references : https://cdn.sanity.io/files/i8o2gj51/production/af039bea24906dad841d236ee1b89de4b8b81328.pdf Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Larssen,_Ingrid_ Prim Media 1371 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 Type The nature or genre of the resource Artisan Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 580 Source A related resource from which the described resource is derived artisans,lofotenmap Spatial Coverage Spatial characteristics of the resource. current,68.570009,14.93763; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Norway Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Larssen, Ingrid 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://www.norskekunsthandverkere.no/kunstnerregister/ingrid-larssen https://culturality.museum/omeka/files/original/599d50ac5220644e705b78c3e1a3af20.jpg 692f90151db9dd7f589df0f7193c15e5 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Yngve Ingebrigtsen in his workshop Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-03 Spatial Coverage Spatial characteristics of the resource. current,68.9157930967307,15.2173247848933; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Julie Therese Sæther, Ingrid Elstad https://culturality.museum/omeka/files/original/5596bbe4e2769fdebbd374016945d7e8.jpg d86b4ae603c538e64a81fa91ab55224a Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Yngve Ingebrigtsen with a boat in his workshop Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-03 Spatial Coverage Spatial characteristics of the resource. current,68.9157930967307,15.2173247848933; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Julie Therese Sæther, Ingrid Elstad https://culturality.museum/omeka/files/original/c7196dd1adccb485c08c43eaf3576e21.jpg b70ae3e9542c52c14996be161b3768eb Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Yngve Ingebrigtsen with a boat in his workshop Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-03 Spatial Coverage Spatial characteristics of the resource. current,68.9157930967307,15.2173247848933; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Julie Therese Sæther, Ingrid Elstad https://culturality.museum/omeka/files/original/faa8472795eb29992b5005ca6f9d1cbb.mp4 470de2f34285408bbe5abcd172cbba70 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. 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 Interview with Yngve Ingebrigtsen Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-03 Spatial Coverage Spatial characteristics of the resource. current,68.9157930967307,15.2173247848933; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Julie Therese Sæther, Ingrid Elstad 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/galleries/upload/MN_PR_05_01_.mp4 https://culturality.museum/omeka/files/original/9c3e8c1e319aff271c6f18abee7899eb.mp4 fca2934d02e0ef19efbd9d8413c8adac Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. 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 Interview with Yngve Ingebrigtsen Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-03 Spatial Coverage Spatial characteristics of the resource. current,68.9157930967307,15.2173247848933; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Julie Therese Sæther, Ingrid Elstad 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/galleries/upload/MN_PR_05_02_.mp4 https://culturality.museum/omeka/files/original/dda3b393f7ccb09d6ee496c7c8644849.mp4 e10d4e6ff4387531a91c1f9131069a96 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. 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 Interview with Yngve Ingebrigtsen Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-03 Spatial Coverage Spatial characteristics of the resource. current,68.9157930967307,15.2173247848933; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Julie Therese Sæther, Ingrid Elstad 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/galleries/upload/MN_PR_05_03_.mp4 https://culturality.museum/omeka/files/original/33a5bbbb606ce317cc6722e2a2eef800.mp4 ea4c0da0d5a2ebfabc757e81fb06aa86 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. 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 Interview with Yngve Ingebrigtsen Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource Julie Therese Sæther, Ingrid Elstad Spatial Coverage Spatial characteristics of the resource. current,68.9157930967307,15.2173247848933; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. 2025-03-03 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/galleries/upload/MN_PR_05_04_.mp4 Artisan An artisan Contact post@samhold.no Author iain Email The email address of the museum. post@samhold.no Phone The phone number 95331198 Prim Media 1207 Biographical Text He went to boat bulding school External ID MN_PR_05 Knowledge Acquisition He went to boat bulding school Knowledge Transfer No he does not teach anyone at the moment Field Worker Julie Therese Sæther Gender male Area Relation native Occupation woodwork Involvment full-time paid job knowledge1 He has the knowledge and skills to build wooden boats. In his daily work he mainly repair wooden, plastic or aluminum boats. material1 The practitioner use wood, metal and other materials like hemp in his work with the boats. material2 He buys them at stores. material3 There are rearly leftovers, he uses the materials he orders. If any, he uses them on other projects. production1 He uses different techniques, for example planing, grinding and carpentry. production2 He uses different tools, for example a plane, a sander and a hammer. production3 Now adays he uses electrified tools, but he has a very old, handmade plane (høvel) that is dear to him. production4 Regular electricity. production5 The waste is mangaed according to the state guidelines and Norwegian laws. workshop The workshop is separated from his home, but he lives nearby. The workshop has different rooms, one for tools and one for the boats. products1 The practitioner repair boats. products2 He repair them so they can be used at sea. products3 No somebodys already owns them so they are not for sale. products4 The services of repairing wooden, plastic or aluminum boats. products5 Yes products6 The customers are fishermen and different local coastal associations. products7 Samhold slip is in it self a label of certification. tourism1 No they are not in any relation to tourism. tourism2 Ther is no qoute about tourism. partnership They are in collaboration with Riksantikvaren, the Norwegian Stately Heritage center. Riksantikvaren is cofunding the raparation and refurbishment on the old vessels. They have alot of different customers they collaborate with, but maintenance of fishingboats in use in fisheries today is their main job. So they collaborate mostly with fishermen. challenges1 There are very few people left that know how to build wooden boats and know the reparing skills, so this is an endangered occupation. challenges2 They have alot of work to do, and not so much time to do it in. They are very few workers at the company. There is also a concern of the funding of the repairs of the old boats. references www.samholdslip.no Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Ingebrigtsen,_Yngve 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 Yngve Ingebrigtsen Type The nature or genre of the resource Artisan Language A language of the resource Norwegian Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 582 Source A related resource from which the described resource is derived artisans,lofotenmap Spatial Coverage Spatial characteristics of the resource. current,68.9157930967307,15.2173247848933; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Norway Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Ingebrigtsen, Yngve 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://www.samholdslip.no/ https://culturality.museum/omeka/files/original/c592c2d17bddb2e06ce656933cb334bc.mp4 76eabe5457756f825e3a1b9d4fde4521 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. 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 Interview with Ingrid Larsen Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-24 Spatial Coverage Spatial characteristics of the resource. current,68.57000900000000,14.93763; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Julie Sæther 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/galleries/upload/MN_PR_04_01_.mp4 https://culturality.museum/omeka/files/original/7164f3416e78e14696866b1c27c358bb.mp4 f883a1597b468b97ca2e1c8c3ee03399 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. 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 Interview with Ingrid Larsen Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-24 Spatial Coverage Spatial characteristics of the resource. current,68.57000900000000,14.93763; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Julie Sæther 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/galleries/upload/MN_PR_04_02_.mp4 https://culturality.museum/omeka/files/original/04cd758cf42400e0a7e414d9e9c8cd7c.mp4 cf37c8d1524b6415444df967dc2b3956 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. 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 Interview with Ingrid Larsen Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-24 Spatial Coverage Spatial characteristics of the resource. current,68.57000900000000,14.93763; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Julie Sæther 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/galleries/upload/MN_PR_04_03_.mp4 https://culturality.museum/omeka/files/original/9b2a1e2a9b0ac808951b0f3092fce4f7.mp4 60c5a62639937ef6f61bd5af5820ecdd Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. 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 Interview with Ingrid Larsen Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-24 Spatial Coverage Spatial characteristics of the resource. current,68.57000900000000,14.93763; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Julie Sæther 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/galleries/upload/MN_PR_04_04_.mp4 https://culturality.museum/omeka/files/original/b6807befe18b56bcd6ea2d00fc75776d.mp4 efa023ba60e8aa172ea8784da82e7c5c Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. 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 Interview with Ingrid Larsen Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-24 Spatial Coverage Spatial characteristics of the resource. current,68.57000900000000,14.93763; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Julie Sæther 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/galleries/upload/MN_PR_04_05_.mp4 Artisan An artisan Contact frej@frejlonnfors.com Author iain Email The email address of the museum. frej@frejlonnfors.com Phone The phone number 070-6671335 Biographical Text Lonnfors is a professional craftsperson (slöjdare). He both works with production and with teaching. He is inspired by older crafting techniques and folkloristic elements. Lonnfors has been celebrated for his chip-carving patterns. External ID RV_PR_04 Knowledge Acquisition Lonnfors has crafted in wood througout his life and studied and learned through making. He has both been to school -Sätergläntan, in Dalarna, Sweden - where he was allowed to skip the first year (of three), because he was so knowledgable and he has also taught himself. Knowledge Transfer Lonnfors has taught as a teacher at Sätergläntan - Institutet för slöjd och hantverk (see RV_CP_04), for five years as well as in grade school for five years. He holds courses as part of his enterprise. Field Worker Ulrika Jäger, Kajsa Stinnerbom Area Reason Lonnfors is born and grew up in Hagfors (region of Värmland), but have lived and worked in Dalarna a few years. Since a year back, he's living with his family in Värmland, but now outside of Västra Ämtervik. He came back because he was looking for a place to live in Värmland with his partner and they found an older property. Occupation woodwork,artist knowledge1 Lonnfors has the knowledge nessesary to handle the relevant tools for hand crafting in wood as well as picking out the material. Making shrink pots and decorating them with chip carving is one of Lonnfors signature products. He also knows how to pick out the right material both from a mill, but also in the forest. material1 Local swedish wood, and one of his favourites is birch material2 From local sawing mills and from local forests. material3 He burns the leftovers in his stove. production1 Primarily carving in fresh and drier wood. Also the associated practices with getting the materials. See RV_AR_16, RV_AR17, RV_AR_18, RV_AR_19, RV_AR_20. Lonnfors dosen't use machines. production2 Knife, saw, adz, chalk reel, brace, axe, draw knife, v shaped carving knife, gouges, plane, auger, wooden frame saw, calipers, marking gauge, figure saw, drawing compass, ruler. See RV_CP_05(01-03). production3 Lonnfors prefers simple tools that have been used historically; tools he can take care of, and mend himself. One of his axes (shown in RV_CP_05(01)) is one he has used throughout his life as a crafter. He changes the handle when needed. production4 Electric heating, stove and geothermal heating. production5 Only shavings that can be burnt in the stove. workshop Lonnfors' studio is in the bottom floor of his residantal house. products1 Lonnfors makes bespoke artecats and reconstructions of older artefacts that he wants to recreate. He also has a production. Among others, the handicraft developers of Sweden have places orders for traditional linen preparing tools and for courses. Primarily he makes applied arts, such as craft for everyday use. products2 Exhibitions, sales, for own use, tools for courses. Also takes bespoke orders. products3 The company Svenskt tenn, museums, and he himself sells. products4 He can mend objects that are broken. He holds courses and lectures. products5 Yes products6 Museums and he gets neq customers through holding courses (his name is spread and it's a mouth to mouth spreading of the word). Lonnfors says that it's crucial and important to meet with people. It's not about merit, but the impression that affects the image of his work. Region and istitutions are also his customers. products7 No tourism1 No, not directly. Maybe through courses, but he can't say for sure. tourism2 Jag kommer inte ha kursverksamhet här för förbipasserande turiser men men men det går ju absolut att ha samarbeten med ställen som där turister samlas så att säga så att man kan ha nån täljworkshop eller kortare kurser eller så där på platser där folk ändå är som en del av en upplevelse eller så har jag tänkt också för för företag och så där om man vill göra något med personalen det är ju inte turiseter då men ja. Hitta såna former. Så i framtiden kommer det kommer säkert vara mer av den varan..vad ska man säga...såna samarbeten med andra resmål eller så. Jag tror att det vore smart. (cirka 38 minuter in i intervjun). partnership No, not more than previously mentioned. challenges1 Lonnfors has had about one exhibition a year, but will probably not keep on doing that. Reason being he can't sell artecats and can't take more orders when preparing for an exhibition, and therefor the production comes to a halt. Also, he's not selling the objects at the exhibitions, but when it's over. It's a good way to show his work, but he will still make a change with his way of working. / Also, he can't see any challanges with living in a rural place, but feels it's just right for him and that he would be uninspired and not satisfied if he lived more urban. challenges2 Jag är nog en ganska ognällig person som inte funderar så mycket på sånt som stör så men....men det finns en orsak till att vi letat ett hus som ligger så här...jag vill tillexempel inte ha min verksamhet i en tätare byggd stad. Det har jag inte gått igång på tanken för det skulle vara utmanande för mig. (cirka 62 minuter in i intervjun. references https://www.hemslojd.se/med-ett-svaj-som-jimi-hendrix/ https://butiken.sormlandsmuseum.se/inredning-mode/burk-med-skuren-dekor-stor.html https://www.svenskttenn.com/se/sv/formgivare/formgivare-frej-lonnfors/ Social Media The social media links. instagram,https://www.instagram.com/frejlonnfors/; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Lonnfors,_Frej_ Prim Media 1226 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 Frej Lonnfors Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1987 Language A language of the resource Swedish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 583 Source A related resource from which the described resource is derived artisans,varmlandmap Spatial Coverage Spatial characteristics of the resource. current,59.7265854,13.1227098; 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. Lonnfors, Frej 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://frejlonnfors.com/ Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Sweden https://culturality.museum/omeka/files/original/16b5e78be7d0b7d635ccbe50b8b50555.jpg 49f583a0a31de13f2232604b88c77def Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Portrait of Kristine Thenman in her studio Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-17 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. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger https://culturality.museum/omeka/files/original/01ba89ed062c77d08fed8f1f6f23d9ff.jpg d4fd12eea2d52ab446534ece3cd33932 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Kristine Thenman working in her studio Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-17 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. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger https://culturality.museum/omeka/files/original/51c7e846cf61504e3d194dd5bac0e044.jpg 23ea39a125defe78238af5cb690a4c85 Panorama 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 360-scan of Kristine Thenman's studio Type The nature or genre of the resource Panorama Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-17 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. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger https://culturality.museum/omeka/files/original/3f25b80bfdc2cbb866336cb543036e2b.m4a 011e0b8c860aeee8c55b8be3a647d619 Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. 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 Interview with Kristine Thenman in her studio in Edane Type The nature or genre of the resource Sound Contributor An entity responsible for making contributions to the resource iain License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-17 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. SOUND Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger Artisan An artisan Contact kristine.thenman@gmail.com Author iain Email The email address of the museum. kristine.thenman@gmail.com Phone The phone number 46738273873 Prim Media 1222 Biographical Text Kristine grew up in Edane. She lived elsewhere for a few years while she studied ceramics and then returned to work with ceramics. She has studied ceramics at art colleges in both Bergen, Norway, and in Gothenburg, as well as at folk high schools. She has her own studio and workshop near her home (walking distance). She works with ceramics full-time and mainly with modeling, hand building, rolling/slab and turning. She has about two exhibitions per year, is a member of a craft collective in Arvika. Sells her objects at retailers, in her webshop and at Arvika konsthantverk. External ID RV_PR_05 Knowledge Acquisition Course for Ian Hagard, Skutboudden. High school: aestetic field, Solberga. Folk high school in Grebbestad 1 year, throwing. Kuben, 1 år in Gothenburg. 2007 Magister's degree in applied arts, ceramic art, HDK, School of Design and Crafts, Gothenburg. 2005 Bachelor, section for ceramics, Bergen Academy of the Arts, Norway. Knowledge Transfer Thenman sometimes teaches ceramics students at folk high schools. She has had a few courses in her workshop. Artisan Joel Stuart Beck and Thenamn have had an exhibition at the Rackstad Museum where they talked about their work. She has a lot of study visits from classes when she shows how she does it. Folk high schools: Kyrkerud, Mullsjö, Bordinge By, Ingesund. About 11 minutes into the interview. Field Worker Ulrika Jäger, Kajsa Stinnerbom Gender female Area Relation native Area Reason Kristine grew up in Edane. She lived in another city when studying ceramics, but then returned to work as an artisan. Occupation ceramics Involvment full-time paid job knowledge1 To know processes and techniques from clay to finished product. Different clays, glazes, firing, shape and pattern creation. Which tools are used when and for what. Thenman, together with another ceramicist (Joel Stuart Beck) in the area, has dug up and used clay from the area. material1 Clay and glaze material2 She buys most of her supplies from a retailer in Kil, Värmland who buys from www.cebex.se. It's easy for her to buy there, cebex has a kind of monopoly on the kind of material she needs. material3 Sludge is collected through the slush in a special barrel. Broken pottery becomes pottery again. production1 Modeling, hand building, rolling/slab, turning, printing mold (making your own shapes in plaster), sgraffito, turning. production2 Pottery wheel, sgraffito tool, sponge, saw blade, metal band/scraper tool (pictured in "tools"). production3 She made the saw blades herself and she has a lathe that she has had since high school. production4 She rents her studio, heated with electricity. production5 Sludge is collected in a special barrel. workshop Thenman is within walking distance of her workshop, which is located in Edane. Her father previously owned the premises (wood processing in a sawmill, they made moldings and other things) which is now owned by her brother. She rents the premises from her brother. There is a large veranda at the entrance, high ceilings and large windows with lots of light. There is a large garage wall to wall where there is winter storage for e.g. caravans, boats. She shares some spaces with that workshop. products1 Thenamn emphasizes that she does not make production ceramics or pottery in production. She makes unique objects. products2 It can be orders, design assignments, for sale, for exhibition. products3 She sells in her own webshop, and other retailers, exhibitions, the co-op Arvika konsthantverk. Also, through the company "Fine Little Day" which markets her products. products4 Orders, courses, lectures, design assignments, exhibitions. products5 On one occasion there was a two-year warranty (large wall decoration sold to the government office where two parts had come loose). Otherwise no. products6 See her website for who are the purchasers, in addition to private individuals, of her ceramics and services: regions, the state, municipalities and other public administrations. products7 No, apart from being part of Arvika konsthantverkare. tourism1 No. Nothing beyond sales at, for example, Arvika konsthantverkare. tourism2 Jag ser inte hur jag ska kunna få.....alltså jag har...det jag gör säljer jag så jag har inget överskott av produkter så....då vet jag inte riktigt vad...Jag skulle kunna ha kurser för turister då. Men det har jag egentligen inte lust med för jag har inte tid för att jag ska göra de här produkterna som jag ändå säljer. Det går ihop tidsmässigt. Sen kanske det hade varit smart å jobba med turism å ha kurser för att man kunde få mer pengar för mindre tid så men det är ju inte där mitt intresse ligger. (cirka 27 min into the interview). partnership Arvika konsthantverkare challenges1 She finds it challenging with society's view of what is important and her work is not seen as important. And certainly not today when culture is so undervalued. She finds that difficult. She sees a bright future for her in ceramics, there is an interest among people and people want to do it. It is difficult to get people to understand that ceramics take time to make and need to be priced accordingly. challenges2 Jag tycker att den största utmaningen är att få det att gå ihop ekonomiskt, så är det ju. Och tiden då. Sen men sen kan jag rent sådär personligt brottas man ju lite med det här att känna sig ibland kan man känna som att man att man inte riktigt är en del av samhället att man liksom man att det man för inte är på riktigt så. Men det där går i vågor. Det psykiska måendet. references https://kristinethenman.se/ https://arvikakonsthantverk.se/medlemmar/kristine-thenman.html https://finelittleday.com/artists/kristine-thenman/ https://sv.wikipedia.org/wiki/Kristine_Thenman Social Media The social media links. facebook,https://www.facebook.com/kristine.thenman/;instagram,https://www.instagram.com/kristine_thenman/; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Thenman,_Kristine Shop https://kristinethenman.se/shop 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 Kristine Thenman Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1981? Language A language of the resource Swedish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 584 Source A related resource from which the described resource is derived artisans,varmlandmap 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 Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Sweden Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Thenman, Kristine 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://kristinethenman.se/ https://culturality.museum/omeka/files/original/d80dcf753c9adac66c8cc9d4e64aacdc.jpg 21e15c20228ff6b38c8e706cf818b19a Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Frej Lonnfors carving Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-10 Spatial Coverage Spatial characteristics of the resource. current,59.7265854,13.1227098; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger https://culturality.museum/omeka/files/original/c4cec13283c27c628045cfc66ec504a5.JPG caef2b3e5a5cd9290bd0ade8e5582cad Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Portrait of Frej Lonnfors Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-11-04 Spatial Coverage Spatial characteristics of the resource. current,59.7265854,13.1227098; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/de08855e6576867521a30ef125a5482d.jpg 66e610053c0a521d6ab8499d05a0d484 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 360 scan of Frej Lonnfors' workshop Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-10 Spatial Coverage Spatial characteristics of the resource. current,59.7265854,13.1227098; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger https://culturality.museum/omeka/files/original/46bee0a0b317e56b88a6e1eb2b3f61a7.m4a ef9e97f83cca7418ef3f5db85d7d6797 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: Lonnfors, Frej Identifier An unambiguous reference to the resource within a given context 1220 Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. 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 Interview with Frej Lonnfors Type The nature or genre of the resource Sound Contributor An entity responsible for making contributions to the resource iain License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-10 Spatial Coverage Spatial characteristics of the resource. current,59.7265854,13.1227098; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. SOUND Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger https://culturality.museum/omeka/files/original/00bc15ff38bf39046e1d9a3320af1c71.jpg 18bb8d7caba0ec3828b832ea1d1b737e Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Bibbi Bengtsson nålbinder Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Spatial Coverage Spatial characteristics of the resource. current,60.7107258,12.8673235; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger https://culturality.museum/omeka/files/original/ec0de7a70568872dd66c2ad4215362ee.jpg 5fa7d6705e6e1c896bf7f3977dbd0cf3 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Portrait of Bibbi Bengtsson Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-07 Spatial Coverage Spatial characteristics of the resource. current,60.7107258,12.8673235; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger https://culturality.museum/omeka/files/original/68dfcbeb557f5af3d2e0e04334d3c7b8.jpg 47f2b3ab136236944372fe6e9ee8244e Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Bibbi Bengtsson with the book Vinterblomster Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-07 Spatial Coverage Spatial characteristics of the resource. current,60.7107258,12.8673235; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger https://culturality.museum/omeka/files/original/c96f5632690ac08bc8a563d869a2ce70.m4a bedf35369ecd5e0b59ff79327270def0 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: Bengtsson, Bibbi Identifier An unambiguous reference to the resource within a given context 1234 Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. 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 Interview with Bibbi Bengtsson Type The nature or genre of the resource Sound Contributor An entity responsible for making contributions to the resource iain License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-07 Spatial Coverage Spatial characteristics of the resource. current,60.7107258,12.8673235; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. SOUND Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger Artisan An artisan Contact kajsaheden@hotmail.com Author iain Email The email address of the museum. kajsaheden@hotmail.com Phone The phone number 46705638049 Prim Media 1230 Biographical Text Bengtsson is from the area and has lived in Stockholm. She moved back home after a few years. She has worked in care (home care, nursing home). She has goats and usually keeps them at Ransbysätern during the summer. Ransbysätern is a hostel and there is a café where she also works sometimes. She nålbinder and knits and sells her products mostly from home but also via the Utmarksmuseet where she sells her handicraft products under commission. She takes care of her goats and also makes products from goat's milk, she knows how to do the (nordic) hearding cattle call. She lives in a small house with her partner. External ID RV_PR_06 Knowledge Acquisition Bengtsson learned to make the Dalby mittens "Dalbyvantar" of Karin Amundsen during 1986-1987. Amundsen learnt from Torp-Mari. Technique is shown in the book: "Vinterblomster. Nålbundna vantar från Dalby i Värmland". Elisabeth Jacks Svantesson. Knowledge Transfer Bengtsson has taught p2p, held courses and workshops and has taught and lectured at the local high school about the mittens, their history and the technique. She's teaching a local girl and a woman remotely by phone. People can call her to get help, and then she sits down by the phone with her needle so she can describe what she's doing. Field Worker Ulrika Jäger, Kajsa Stinnerbom Gender female Area Relation native Area Reason Bengtsson is native to the area, and returned after a few years in Stockholm. Occupation fibre and textile crafts knowledge1 To make the Dalbyvantar, Dalby mittens, one need to use the specific nålbindnings technique. It is described as "the Dalby technique" and is illustrated in the book "Vinterblomster. Nålbundna vantar från Dalby i Värmland" (p.36). It requiers a knowledge in the decoration with embrodery. It's a practical and traditional knowledge. material1 Only wool yarn material2 Bengtsson buys her wool yarn from Norway at Europris. trysilgarn.europris.no. She does not want to buy online, since she needs to experience the quality of the yarn and choses to shop in a phisical store. She likes the Swedish yarns sold at Wåhlsteds wahlstedts.com and Gästrikegarn jarbo.se material3 She does emboridery with the left overs, and make yarn balls for her cat. production1 She does nålbidning, embrodery and sews. production2 Needle made from moose bone, pattern, embroidery needle, pliers and chochet hooks. She also uses soap, see artefacts RV_AR_26-30 production3 Bengtsson has two needles in moose bone that means something special for her, which she got from the cultural bearer Karin Amundsen, in her youth. These needles has followed her throuout her life. Bengtsson makes her own needles from moose bone, but it's difficult to get good moose bones. production4 Wood stove, electricity. production5 No waste. workshop Bengtsson makes all her products at home in her house and has no studio. products1 Bengtsson makes the tradtitional mittens and other objects inspired by the specific design, such as hats, bowties, broches, bridal crowns, bells for decorating. products2 Sales, exhibitions and for own use. products3 Bengtsson sells from her home, and she sells hat and leaves at the local museum where it's sold on commission. products4 She teaches the technique and sells her products. products5 It's difficult to repair others works, says Bengtsson, because it's so individual. She has finished others works occationally. She has also helped with the embroidery. products6 Women, both local and people from far away. Many find it beautiful and want to buy as presents. products7 She applied for a patent for the hat, but it was declined due to the existence of the mittens. tourism1 The hostel and café (Ransbysäterna), Utmarksmuseet, mostly during summers. She usually sits and does the craft at those places. tourism2 Ibland är det nån som...då har man haft nålbidning där öpp åsså har dä leij åsså kommer dä nön "ja jag kan också nålbinda" åsså ser jag liksom att den sitter o höller på...och det är som ett helt annat stygn...nej...nej....lät bli..dä blir ju helt fel. (cirka 42 min into the interview). partnership She's not part of any knitting groups or cafés, but she sometimes joins others who have craft meetings. She has a partnership with the museum. She's had partnerships with the schools. challenges1 Learning the practice takes a long time and few are taking up the practice challenges2 Ja, den är nog som den är..och framtiden den fortsätter väl....jag fortsätter väl å nålbind så länge fingran örke och ögat ser (cirka 59 min into the interview references Vinterblomster. Nålbundna vantar från Dalby i Värmland. Elisabet Jacks Svantesson. Social Media The social media links. facebook,https://www.facebook.com/bibbi.bengtsson; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Bengtsson,_Bibbi 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 Bibbi Bengtsson Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1960 Language A language of the resource Swedish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 585 Source A related resource from which the described resource is derived artisans,ruralvarmland,varmlandmap Spatial Coverage Spatial characteristics of the resource. current,60.7107258,12.8673235; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Sweden Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Bengtsson, Bibbi https://culturality.museum/omeka/files/original/09576537280ca27807e4a76f8f60a8d6.jpg d5c5f35726d4e8a5c2c6e2a4e96af9c0 https://culturality.museum/omeka/files/original/75dc53fa89711848e446c827f3eb533f.jpg d20421cbf0cd2bf383769df9432db532 https://culturality.museum/omeka/files/original/6b12408eeb4df3ada8eab0791b4786ac.jpg 1ced7fe6a33df8b28adf32a844b1b025 https://culturality.museum/omeka/files/original/f64518c571dd5d312943504d735b92d1.jpg 5f875178961b0dd43238fb188f60666a https://culturality.museum/omeka/files/original/5c314acfa92d653441568b518556c0b4.jpg ef3a28e421ec1b5db9b1a2741357ab04 https://culturality.museum/omeka/files/original/49d2f412e0e892000729c7966a95867b.jpg 9aab4afc8103d7831c5f18743b332e65 https://culturality.museum/omeka/files/original/370c4be9e506e5220e6fee2838bb21d9.jpg d4e25747ff5999a371dc13081cecd3d0 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Marta Fernández Martínez in the cheesemaking workshop Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-30 Spatial Coverage Spatial characteristics of the resource. current,43.3169333969445,-6.13166887325786; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Santiago Rodríguez Pérez https://culturality.museum/omeka/files/original/79851fc589146553999b326c664ca4bd.MP4 061d4a010900e297dd44257b8ae18c61 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: Fernández Martínez, Marta Identifier An unambiguous reference to the resource within a given context 1242 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. 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 Interview with Marta Fernández Martínez Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Spatial Coverage Spatial characteristics of the resource. current,43.3169333969445,-6.13166887325786; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. 2025-01-30 https://culturality.museum/omeka/files/original/7f612c9054f46141fbd90981d5d3a340.MP4 5648fef35f534ff231d5c848d929ecc0 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. 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 Interview with Marta Fernández Martínez Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-30 Spatial Coverage Spatial characteristics of the resource. current,43.3169333969445,-6.13166887325786; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO 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/galleries/upload/UNIOVI_PR_01_02_.MP4 https://culturality.museum/omeka/files/original/5898c42c290a0334881fbaf0eac3b2c6.MP4 a84ce88e0ab21a27d3388d89d97ae116 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. 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 Interview with Marta Fernández Martínez Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-30 Spatial Coverage Spatial characteristics of the resource. current,43.3169333969445,-6.13166887325786; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO 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/galleries/upload/UNIOVI_PR_01_03_.MP4 https://culturality.museum/omeka/files/original/07eff71c82c6bbe1be0ae58f809fe55a.MP4 3a549c6a5ea7d62342e94fec70bdae5f Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. 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 Interview with Marta Fernández Martínez Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Spatial Coverage Spatial characteristics of the resource. current,43.3169333969445,-6.13166887325786; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. 2025-01-30 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/galleries/upload/UNIOVI_PR_01_04_.MP4 https://culturality.museum/omeka/files/original/38ba98cea8f3cced1c3d1638716ed2e5.MP4 772169721576c42137eb8d3a35a6b3cd Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. 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 Interview with Marta Fernández Martínez Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-30 Spatial Coverage Spatial characteristics of the resource. current,43.3169333969445,-6.13166887325786; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO 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/galleries/upload/UNIOVI_PR_01_05_.MP4 https://culturality.museum/omeka/files/original/76f267d0b155dcc709d431eef4420f01.MP4 96df85a397e56216c7806ad7816e1990 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. 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 Interview with Marta Fernández Martínez Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-30 Spatial Coverage Spatial characteristics of the resource. current,43.3169333969445,-6.13166887325786; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO 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/galleries/upload/UNIOVI_PR_01_06_.MP4 Artisan An artisan Contact queseriacasanchu@gmail.com Author iain Email The email address of the museum. queseriacasanchu@gmail.com Phone The phone number 985 752 222 Prim Media 1235 Biographical Text Marta Fernández Martínez was born in the village of Ambás (municipality of Grau/Grado, Asturias) on October 29, 1979. A daughter of a farming family, her childhood unfolded in the rural Asturian environment, contributing to the domestic tasks of a family farm dedicated to dairy production and cheese-making. She studied Forest Engineering at the University of Oviedo, working as such for several years on various forestry and environmental projects throughout Asturias. In 2011, after being unemployed for a few months, she decided to join her parents' family business, Filomena Martínez and José Antonio Fernández, Queisos Ca Sanchu. Nowadays, she has moved back to her hometown and runs the cheese factory together with her partner, Xel. Her full-time dedication is the small family business, her cheese factory specializing in Afuega’l Pitu cheese. External ID UNIOVI_PR_02 Knowledge Acquisition Marta learned to make cheese from her mother at the family home and also from her grandmother in the nearby village of Cubia. Cheese had always been an integral part of her family traditions, and she views the transmission of this knowledge as something natural, a genuine family legacy. From a very young age, she became familiar with the cheese-making process. Cheese production was a family activity in which even the children participated, contributing to the various tasks involved in its creation. Knowledge Transfer Marta has conducted workshops on dairy products, especially butter and cheese, aimed at students from various schools in the area. These workshops are part of educational programs designed for primary and secondary school students, where the basic processes of making butter and cheese are taught, allowing participants to create their own product. She has not provided formal training, specific courses for professionals, nor has she ever had an apprentice Field Worker Santiago Rodríguez Pérez, Llara Fuente Corripio Gender female Area Relation native Involvment full-time paid job knowledge1 Marta believes that great skill is not required to make cheese, as it is a relatively simple technical process. For her, sensitivity and awareness regarding the product being created are far more important. She does not consider it essential to have acquired the knowledge in the home where the artisan was born or to have a family tradition in the craft. In her opinion, the key is to show respect for tradition, for the generations who preserved and transmitted it, and for the production of the product in line with traditional methods. For example, the simple gesture of using the 'garciella' (ladle) to pour the cheese into molds and fill them slowly, instead of using a larger spoon or a machine to automate the process, already reflects specific qualities of the cheese and respect for its traditional production. Making it differently, in a way that does not respect traditional methods, may result in a similar product but detracts from the authenticity and attributes of the final product. According to Marta, this production method gives the cheese unique characteristics that must be protected. This issue is of great importance to the artisan. Nowadays, technological innovations even allow for modifying or adapting the flavors of cheese for different audiences through the use of flavorings, or removing the natural molds of the cheese (such as geotrichum candidum) using anti-mold products. While these practices might make the cheese more marketable, they would compromise the essence of Afuega’l Pitu cheese, which is defined by its unique characteristics. Marta believes that the product must remain true to its original nature. In fact, it is possible to clearly distinguish a cheese made according to traditional methods from one that does not follow these practices material1 The main ingredient for making cheese is cow’s milk. Additionally, rennet is used in small amounts to carry out the milk coagulation process. No other products, such as anti-mold agents, are used, allowing the cheese to naturally develop its characteristic molds. Furthermore, plastic is used for packaging, along with labels. material2 The milk comes from local farms located in villages near the cheese factory (Llamas, Santianes de Molenes), where the cows are raised grazing freely outdoors. In the past, her family had their own dairy farm dedicated to milk production. Part of that production was used to make cheese in the family business, while the other part was collected by a dairy cooperative. Currently, obtaining high-quality locally produced milk is challenging. Small dairy farms in the area are disappearing. Farmers prefer to produce beef cattle because these animals require less work than dairy farming, which demands complete dependence. Dairy farms are not profitable if they have few heads of livestock, and in the mid-mountain area where the homestead is located, it is not feasible to establish large-scale dairy farms. However, within the Protected Designation of Origin lies the municipality of Tinéu, a major dairy production center and one of the municipalities that produces the most milk in all of Spain. Nevertheless, their cheese production relies on dairy farming. Livestock farms are increasingly larger, and it could happen that they no longer supply small cheesemakers, focusing only on large cooperatives and distributors. Unfortunately, small farms that exclusively provide milk to small cheese factories are not viable, as the amount produced is too small to be profitable. Milk is purchased from dairy centers, not directly from farmers. However, they are aware of the milk’s origin because the central's truck first collects the milk from producers and then delivers a portion to the cheese factory. If they decided to make direct purchases, they would need their own truck. The possibility of having a small dairy farm has also been considered, but this would require completely rethinking their model. Producing their own milk would be a challenging endeavor. material3 The cheese factory produces hardly any cheese remnants or byproducts. All the milk received is fully processed into cheese. No surpluses are generated that require management. production1 The milk delivered to the cheese factory is stored in an outdoor tank at temperatures below 4 degrees Celsius. The following morning, it is pasteurized using a pasteurizer, subjecting it to 72 degrees Celsius for 5 seconds, which eliminates bacteria and microorganisms. Subsequently, the pasteurizer pours the milk into curdling vats, where it is maintained at an average temperature of 27-28 degrees Celsius, ideal for producing this type of cheese. Once in the vats, the milk is left for 3 to 4 hours to allow its pH to drop to a level of 4.5-5. Afterward, rennet is added. Originally, the rennet was of animal origin, though nowadays it is produced in laboratories. The amount used is 45 milliliters of rennet per 1,000 liters of milk, representing a very small quantity. Traditionally, in the production of afuega’l pitu cheese, two processes can be followed, historically documented and related to the curdling process. It is possible to curdle without rennet by utilizing temperature differences and pH reduction. However, the issue with this curd, known in Asturian as leche presa, is that it has much less consistency. If poured into a mold with holes (barreña), the curd escapes through the openings. For this reason, a piece of cloth (trapu) is used to strain the whey when pouring the curd. If rennet is used, the curd gains greater consistency and can be directly placed into the barreñas to finish draining the whey. Rennet (cuayo in Asturian) is a digestive enzyme that enables milk coagulation, traditionally obtained from the stomach of ruminants. However, in the past, this enzyme was also extracted from the intestines of pigs, which were slaughtered at home for domestic consumption during the traditional pig-slaughtering (matanzas). The curd of Afuega’l Pitu cheese is of an acid-lactic or mixed type, as the milk coagulates due to the pH reduction caused by acidity, with rennet aiding in the process. Once the milk is placed in the curdling vat, it is left to rest for 24 hours, ensuring the temperature remains constant and avoiding significant fluctuations. Nowadays, this process is carried out in a vat equipped with temperature control, which is maintained between 22 and 32 degrees Celsius. Once the curd is prepared, it is poured into molds known as barreñas. For this, a garcilla (ladle) is used, which allows the curd to be placed in layers within the molds. The process is slow and labor-intensive, as the molds must be filled one by one, working in batches of more than 100 cheeses. Nowadays, the molds, which are conical in shape, are made of food-grade plastic. In them, the curd gradually drains the whey. The cheese remains in this draining process for 24 to 48 hours, without the need for pressing. The initial result is fresh, unsalted cheese, ready for commercialization. If salted cheese is desired, a small amount of salt is manually added to the fresh cheese after unmolding it. Approximately 100 liters of milk yield around 40 cheeses, with each cheese requiring between 2.2 and 2.5 liters of milk. From this point, the processes vary depending on the type of cheese. For the Atroncáu blancu variety, the cheeses are kept in the maturation chamber for a maximum period of 20 days. The cheese maintains its conical shape and characteristic white color. In the case of Atroncáu roxu, after 24 hours of whey drainage in the barreñas, the cheeses are kneaded. For this, the fresh cheeses are placed in a kneader, where salt and paprika are added. During the kneading process, both ingredients are evenly distributed throughout the mixture. The mixture is then placed into molds using a gauze to prevent it from sticking to the mold walls. The cheese remains in the molds for one day, after which it is unmolded and transferred to the maturation chamber. Its distinctive color is reddish-orange. The Trapu blancu cheese is also made through kneading. The freshly unmolded fresh cheese is placed in a kneader. Once kneaded, it is wrapped in a cloth (trapu), which is tied to continue the whey-draining process. Afterward, it is untied and cured in the maturation chamber. The Trapu roxu is produced in a similar way to Trapu blancu, also through kneading. The difference lies in the addition of paprika to this variety during the process. Once kneaded, the cheese is wrapped in a cloth (trapu), tied to continue draining the whey, and then untied for curing in the maturation chamber. The maturation chamber is maintained at a minimum humidity of 60%. During their time there, the cheeses are turned regularly to achieve the optimal level of maturation. They are then transferred to a cold storage chamber, where they are kept at a temperature between four and ten degrees Celsius until commercialization. production2 Fundamentally, two main tools are used: the mold for curdling (barreña) and the ladle for pouring the curd into the barreña. Additionally, many others are employed, such as the pasteurizing machine, the vat for milk curdling, and the maturation chamber. production3 They are simple tools, yet essential for the production of this historic cheese. Their importance lies in the fact that, without them, it would not be possible to make this cheese. Manually pouring the curd into the molds using the ladle is a technical gesture that has been repeated throughout history and helps to give the cheese its unique organoleptic properties. production4 Electricity is essential and is used at various stages of the process. From the start, it is utilized in refrigerated tanks for milk storage, in the pasteurizing machine to heat the milk, in the curdling vat to maintain a stable temperature, in the drying and maturation chambers, in the kneading machine, and in dehumidifiers. Currently, the electricity comes from the power grid, although in the future it could be sourced from renewable energy. Marta has seriously considered this transition but faces several challenges: the cheese factory's location in a shaded area, the limited efficiency of solar panels, and the complex regulations for their installation. Perhaps the biggest issue is that the industrial refrigeration equipment requires three-phase electricity, and self-consumption renewable energy sources, for now, could only cover a small part of the electricity consumption. Moreover, the transition would require a significant investment. The workshop is heated using an aerothermal system. production5 The main waste generated by the cheese factory is the whey from the milk. This could pose a problem if the factory were located in an urban area, as it would not be possible to dispose of it via the drainage system. Part of the whey is stored in tanks, as some farmers in the area use it as animal feed, while another portion is directed to the septic tank. The cheese factory has a large septic tank, and with a spacious outdoor plot, the whey—being a biodegradable product—can be filtered through the septic tank and released into the environment. The land has sufficient absorption capacity to manage this activity. In their case, a significant portion of the surplus is used as fertilizer. The remaining waste is less significant. It is placed in trash containers for collection by the waste management service in Asturias. The management of whey is one of the major challenges for artisanal cheese factories in Asturias, of which there are many. Various projects are being developed to find new uses for whey. However, this process would require centralized management involving multiple cheese factories, as a small family business cannot handle this task alone. Whey also has potential applications for human consumption, such as a beverage, and in the production of energy drinks. workshop Marta works in a cheese factory located in the family home. It was founded by her parents in the 1980s and has undergone several renovations, expansions, and improvements over the years. Initially, they built a small facility next to the house. Later, around 1990, they constructed a larger, new building at the back of the house, which is where the cheese is currently produced. Her parents established the cheese factory when they decided to transition to professional cheese production. The workshop covers an area of approximately 80 m² and is divided into a small reception room, a restroom, a workroom, and two chambers for maturation and storage. The workroom is equipped with a pasteurizing machine, a curdling vat, several work tables (for pouring the curd into molds, kneading and preparing the cheeses, labeling, and storage), as well as stainless steel shelves with trays to collect whey while the cheese remains in the molds. Since it is a space dedicated to food production, it complies with a series of health and food regulations specific to the agro-industrial sector. Additionally, it has a traceability plan to prevent cross-contamination. products1 The Ca Sanchu cheese factory mainly produces seven products: • Fresh cheese with salt • Fresh cheese without salt (barreña) • Afuega’l Pitu cheese Atroncáu blancu • Afuega’l Pitu cheese Atroncáu roxu • Afuega’l Pitu cheese Trapu blancu • Afuega’l Pitu cheese Trapu roxu • Del Horro cheese: an Atroncáu blancu cheese with a much longer maturation process, carried out in an elevated granary (hórreo, panera), which was the traditional drying facility. products2 The main objective of all this production is its commercialization, either directly or through local sales channels, aimed at consumption. products3 The original place where these cheeses were sold, and are still sold, is the Grau/Grado Market, a weekly outdoor market where farmers used to sell surplus from their farms. Currently, Marta and her partner, Xel, continue to sell their cheeses at a stall in this market, which remains one of their most popular sales channels. Additionally, the product can be purchased in various stores across the central area of Asturias. Xel, her partner, is responsible for distributing the cheeses to small local shops, using a delivery van. products4 The only services offered are cheese transportation and distribution, as well as customer service, both in markets and for small businesses or distributors. Additionally, tourism-related services are provided, which will be detailed in the corresponding section. products5 Occasionally, tasting services were conducted, where cheese characteristics were explained to consumer and gastronomic groups, including how and at what temperature it should be consumed, and the differences between fresh, semi-cured, and del hórreo cheeses, among others. However, these activities are not frequent. products6 It caters to all types of clients, both local and international, ranging from audiences specialized in gourmet products to everyday consumers. products7 The product primarily holds the Protected Designation of Origin (PDO) as its main quality seal. It also carries the Queseros Artesanos de Asturias quality seal, which encompasses all artisanal cheese producers in Asturias. Lastly, it features the 'Alimentos del Paraíso' seal, a quality mark from the Asturian public administration aimed at protecting high-quality products made in Asturias (covering all kinds of food products). It does not have an organic product label, as the milk used in its production does not hold that quality certification. tourism1 Yes, they participate in tourism-related activities on different levels. The cheese factory organizes private visits for anyone who contacts them, whether by phone or through social media. Occasionally, owners of nearby rural accommodations reach out to coordinate visits with tourists, offering them as an additional activity in the area. In collaboration with Asturias' public administration (Turismo de Asturias), they offer experiences for tourists in the form of open house days. During these visits, the cheese factory, the cheese-making processes, the production methods, and the history of Marta, her family, and the cheese are showcased. Visitors also have the chance to taste the products, providing an in-depth experience of an artisanal product. However, tourism is not their main activity and does not represent a significant source of income. They have not considered adapting the facilities for visitors, as their primary focus remains cheese production. In contrast, other cheese factories are equipped with specific infrastructures for tourism, such as internal tours, observation windows, tastings, and other services, charging visitors for these experiences. The lack of time and availability prevents them from being more involved in this area. Despite this, they have considered expanding their tourism-related activities, as the exponential growth of tourism in northern Spain could bring interesting benefits. They have considered holding open house events and activities that establish connections between the territory, the product, and society. However, they have also had negative experiences with certain tourists who do not appreciate the place, treating it as a leisure option for rainy days, similar to visiting a bar or museum. This has led them to meticulously prepare visits, only to find that some visitors failed to confirm or, having made a reservation, did not attend. These negative experiences have resulted in the cancellation of many other visits. Tourists come from both national and international backgrounds. Their perception is that international visitors (British, Australian, Scottish, etc.) tend to value the setting of the cheese factory and the work carried out there more highly. tourism2 No vivimos del turismo. Vivimos de elaborar un producto y de venderlo. A nosotros nos genera problemas, como llegar tarde a los repartos, acumular cansancio, quitar tiempo de las tareas principales... No vivimos del turista y por tanto las visitas no están profesionalizadas. Las malas experiencias con turistas que no tienen interés, o que no cancelan y no avisan, nos hace reconsiderar la posibilidad de realizar visitas partnership Currently, she participates in the Protected Designation of Origin (PDO) and the association of artisanal cheesemakers. She is not involved in co-creation spaces nor does she collaborate with other artisans beyond the cheesemaking sector. In the world of Afuega’l Pitu, since it is an artisanal product with few producers, everyone knows and collaborates with one another. Marta does not organize events or work with other artisans, although she is open to doing so. For example, she would like to collaborate with Natalia, a ceramist from Woodic Cerámica (LAPONTE_PR_02), to design a ceramic barreña. However, the main obstacle is a lack of time. She also makes a veiled critique: often, these types of collaborations are more focused on social media promotion than on fostering truly fruitful and effective cooperation. On the other hand, she has carried out numerous collaborations with public institutions, such as the Grau/Grado City Council and the University of Oviedo. For instance, she takes part in the Master's in Food program developed by the Faculty of Chemistry, as well as in projects from the Faculty of Business Administration, contributing to approximately four academic collaborations per year. challenges1 Marta is very pessimistic about the future of rural areas and the business model they have developed. However, she highlights several positive aspects. She always wanted to live in a rural environment and has managed to do so: she has settled in the village and built a house, which she considers one of the best decisions of her life. Nonetheless, she is skeptical of the current consumption model, as living off artisanal production is very challenging. She feels fortunate to have a nearby local outdoor market (Mercáu de Grau/Grado), which allows her to sell a large part of her production sustainably and directly to the public. However, profitability is not high; it provides a decent income for a couple and allows them to hire one person in the cheese factory, but it does not leave room for luxuries. The capitalist consumption model focused on large retailers does not favor artisanal and high-quality products. Marta believes this model is largely incompatible with her smaller-scale business. Consumer habits tend toward mass consumption in large stores rather than supporting small producers. She has considered the possibility of "giving in" to the tourism model as a solution, although this idea does not appeal to her, as she fears it would lead to the "touristification" of rural areas, stripping them of much of their authenticity. Another challenge is pricing her products. Marta is committed to maintaining affordable prices so that her loyal customers can continue to access them. She does not want to create a luxury artisanal product exclusively for elites, but many people associate lower prices with lower quality. Her approach to producing quality cheese at an affordable price may harm her financially, but she is unwilling to make luxury goods at high costs. Moreover, she finds the idea of offering two differentiated product lines absurd, as she believes all consumers should enjoy the same product. Ultimately, this is a family business that relies on its sales. In general, Marta feels somewhat disheartened by the evolution of society and the economy, such as the closure of small shops. However, she remains hopeful that younger generations will appreciate quality, artisanal products and small businesses while questioning franchises and current consumption models. She acknowledges that returning to rural life is difficult and complex due to inadequate services. Physical stores in villages are increasingly scarce, and those that remain have limited customers. Telecommunications are poor, with inadequate internet access services. Additionally, logistical issues arise, such as package deliveries: couriers, often self-employed, avoid making deliveries to places like Ambás because traveling long distances is not profitable. This issue is also a consequence of the capitalist market system. Marta concludes that rural areas are becoming a scenic backdrop for tourists, but she acknowledges that reversing this dynamic is a complex challenge. challenges2 “Soy pesimista, porque no veo que cambien los modelos de consumo [...] Lo artesano, el producto de calidad, tien un canal de venta muy limitado. Por internet, la gente no compra alimentos, acuden a centros comerciales grandes, donde no hay presencia del producto artesano, por muchas razones, relacionadas con el capitalismo: se exigen grandes volúmenes y el pago al productor es muy pequeño. [...] Nuestra filosofía de vender un producto de calidad a un precio asequible nos puede perjudicar. El sistema debería cambiar” references Galán, J. F. (2019, May 19). El Afuega’l Pitu de Ca Sanchu, premiado en Avilés como mejor queso de Asturias. El Comercio: Diario de Asturias. https://www.elcomercio.es/gastronomia/noticias/afuegal-pitu-sanchu-20190519011822-ntvo.html López Murias, R. (2025, February 15). Las cinco muyeres de Grau que salvaron al ‘queisu’ que llegó a prohibirse en Asturias: El Afuega’l Pitu. ElDiario.es. https://www.eldiario.es/asturias/cinco-muyeres-grau-salvaron-queisu-llego-prohibirse-asturias-afuega-l-pitu_1_12053455.html Paredes, A. P. (2013, June 27). Ingeniera de la tradición. La Nueva España. https://www.lne.es/asturias/2013/06/27/ingeniera-tradicion-20618581.html REVIEW Presents (Director). (2025, February 16). Quesería Ca Sanchu Asturias [Video recording]. https://www.youtube.com/watch?v=yKMR_-IJMj0 Villa, O. (2020, August 9). «Cada queso habla de su tierra y de su gente. Es identidad»—Pegados a la Tierra. https://pegadosalatierra.elcomercio.es/queseria-ca-sanchu-queso-afuegal-pitu-ambas-grado/ Social Media The social media links. facebook,https://www.facebook.com/queseriacasanchu?locale=es_ES;instagram,https://www.instagram.com/picutorneru/; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Fernández_Martínez,_Marta 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 Marta Fernández Martínez Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1979 Language A language of the resource Asturian,Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 586 Source A related resource from which the described resource is derived artisans,asturiasmap Spatial Coverage Spatial characteristics of the resource. current,43.3169333969445,-6.13166887325786; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Fernández Martínez, Marta 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 Wood, birch Natural Cultural Cultural Function The "Tachadeira" is a beautifully handcrafted wooden piece made with an ancient foot-powered lathe, a technique passed down through generations in the Cunqueiros region, between Ibias and Degaña. The name "Tachadeira" comes from "tachada," meaning a slice of meat, as it was originally used for slicing. This practical item features a wooden block in the centre, serving as a cutting board for cured meats, cheeses, or vegetables, and can also be used to serve food. Besides its unique crafting process, the Tachadeira carries the history of a culture focused on making household items, including bowls, as part of a set called "tixela." This is why the people who practiced this craft in the villages of Trabau, Il Curralín, Il Bao, and Astierna were known as "tixileiros" or "cunqueiros". Creation Purpose For sale Technique Pedal lathe. It takes about 3 to 4 hours to make the piece, in addition to the time required for felling and drying Material Source Local wood: Parque Natural de Cangas del Narcea, Ibias y Degaña Conecept It is one of the most famous, well-known, and interesting pieces of Cunqueiro craftsmanship and is part of the tixela. External ID ESPTOR_AR_01 Field Worker Olaya Alonso López Craft woodwork Tool Chainsaw, axe, pedal lathe, gouges, and sandpaper 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) 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 Wooden plate Type The nature or genre of the resource Physical Object Description An account of the resource Wooden plate with a raised centre, like a small cutting board. Tachadeira (in asturianu -local dialect-, also known as Trilladeira in neighboring regions or Tajadera in Spanish) / Wooden bowl called Tachadeira (no English translation) Date A point or period of time associated with an event in the lifecycle of the resource 2021 Creator An entity primarily responsible for making the resource 1195 Language A language of the resource Asturian,Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 587 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). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Tachadeira Spatial Coverage Spatial characteristics of the resource. current,42.959326,-6.644387; 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 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 https://culturality.museum/omeka/files/original/11160e028542b882da0451f84342ea5d.mp4 88e3e5de26300d11dbcbfc6af7b7b84d Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. 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 Víctor García Rodríguez demonstrates the process of making a wooden bowl Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-06 Spatial Coverage Spatial characteristics of the resource. current,42.9407,-6.57125; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Olaya Alonso López 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/galleries/upload/ESPTOR_CP_01.mp4 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 https://culturality.museum/omeka/files/original/211ac8b06507f2eae0dae79fdf7e99db.jpg 2ea87b7fa2808d8600319b62412d5700 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Draw knife, axe, v shaped knife Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-10 Spatial Coverage Spatial characteristics of the resource. current,59.7265854,13.1227098; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger https://culturality.museum/omeka/files/original/f6d67c064e4570be9380fc5ab9e460b9.jpg 8a60d6d703ba6f0f098e691186185f91 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 saw Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-10 Spatial Coverage Spatial characteristics of the resource. current,59.7265854,13.1227098; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger https://culturality.museum/omeka/files/original/177f64ed0f8ae91f7571a66478882c7d.jpg 4da90de558682f6cdb8216f084d50481 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Gouge, auger, wood chisel, knife Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-10 Spatial Coverage Spatial characteristics of the resource. current,59.7265854,13.1227098; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger https://culturality.museum/omeka/files/original/82af3d1107efa22cee70b115ac0a13b8.mp4 f99e3bd438a27bd25fc29d3d5012fe32 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. 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 Frej Lonnfors showing chip carving Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-10 Spatial Coverage Spatial characteristics of the resource. current,59.7265854,13.1227098; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger, Sara Olsson 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/galleries/upload/RV_CP_04_01_.mp4 https://culturality.museum/omeka/files/original/e3eb84a082d74689be23b8bde0984325.mp4 c57cc2887b958da10af765b9cef46006 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. 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 Frej Lonnfors showing chip carving Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-10 Spatial Coverage Spatial characteristics of the resource. current,59.7265854,13.1227098; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger, Sara Olsson 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/galleries/upload/RV_CP_04_02_.mp4 https://culturality.museum/omeka/files/original/daa3143e39c12cd8164269172091d3fb.jpg a4451de86919decd97dbf7451ee6ea3e Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Tools used by Kristine Thenman Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-17 Spatial Coverage Spatial characteristics of the resource. current,59.6373482,12.7951043; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger https://culturality.museum/omeka/files/original/afd32d9324fa031ce8e523ec090ca028.mp4 3f5378f0dfe89051d501cc442b5d1794 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. 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 Kristine Thenman using sgrafitto tools Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-17 Spatial Coverage Spatial characteristics of the resource. current,59.6373482,12.7951043; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger 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/galleries/upload/RV_CP_05_01_.mp4 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 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