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This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_08_10_.MP4 https://culturality.museum/omeka/files/original/247dc5a1b12ace4961093b666d1bb3ae.mp4 47a941bab1044ce4fa7f5141e4d6ec41 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 UNIOVI_PR_08(11) 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 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_08_11_.mp4 Artisan An artisan Author iain Prim Media 1529 Biographical Text José Ángel González del Río was born in 1962 in Cuero (Candamo). He began working in basketry at the age of 12, a craft to which he has devoted his entire life and which has been his main source of income. He learned the art at home, guided by his grandfather and father, making various objects. During his youth, he worked alongside his father in the family workshop, where they produced pieces that were sold to local shops, which then handled their distribution. Later, he moved to Oviedo to work in another basketry workshop for two years, although the working conditions there were not favorable. At the age of 27, he decided to become self-employed, founding his own basketry business, an activity he continues to pursue to this day. Around 1985, he moved to the town of Grau/Grado, where he currently resides. Although the workshop was located in his hometown, the lack of basic services—such as a telephone, whose installation was very expensive at the time—and limited access to transportation led him to relocate to a larger town. The distance between the two places is just five kilometers. He plans to retire in 2027. External ID UNIOVI_PR_08 Knowledge Acquisition José works in the workshop with his sister Mari. Both acquired their knowledge and skills in basketry from their grandfather and father, who were basket makers in the village of Cuero (municipality of Candamo). In the 1970s, almost every household in the village made basketry items. There was even a wicker and chestnut workshop that employed around 20 people. Another workshop existed in the nearby town of Forcinas (Pravia). Basketry was an alternative source of income for farms, alongside agriculture and livestock. Both men and women worked in the trade, sharing the tasks. The family business was started by their grandfather in a home-based workshop, and their father continued the work. They were dedicated exclusively to basketry and did not practice other trades such as carpentry. José would have liked to learn other crafts as well, such as wood carving. Knowledge Transfer He hasn’t had any apprentices, nor has anyone shown interest in learning his craft directly from him. He has taught many basketry workshops at craft fairs, and even some outdoors in the garden of his home. However, these are very basic courses, held in a single afternoon, where participants leave with a finished basket—but they’re not enough to truly learn the trade. He believes that making complex items, such as armchairs or custom-sized boxes, is much more difficult and cannot be learned in just one afternoon. It’s not a craft you can master in six months. To reach the level of making pieces like an armchair, José spent many years working with his father from a young age, gradually learning to make each part. He would make the base, and his father the upper part. Through hands-on experience and constant observation, he learned how to make them. Chairs, for example, involve a certain level of complexity. He would be willing to teach his craft to others without hesitation. He has no problem sharing his knowledge. But very few people show interest in basketry, and he has never had an apprentice who wanted to continue the trade. Occasionally, people come asking for short courses and such, and he has had a few students who showed genuine interest in learning. At times, people have suggested that he bring someone else into the workshop, both to help and to pass on the craft. But as José says, “you don’t earn enough to pay them.” Of course, they would have to be hired as employees, which means covering their salary, taxes, and social security contributions. Field Worker Santiago Rodríguez Pérez, Gender male Area Relation native Involvment full-time paid job knowledge1 There’s an Asturian saying that goes, “Whoever makes one basket can make a hundred.” But well, that’s not always the case—basketry requires a certain level of skill. The craftsperson must understand the raw material and know how to prepare it—wicker—giving it the right level of moisture. Patience is also essential, as making each piece takes time and dedication. It’s important to know some basic techniques. Weaving is relatively easy; the most complex parts are the finishing touches, the handles, and shaping the piece… material1 The basic material used by José and Mari in their workshop is wicker. They mainly work with buff wicker, but also use white and black wicker. All these materials come from the same tree; the difference lies in how they are processed: white wicker is obtained by peeling the bark off the branches, while buff wicker is cut and boiled with its bark on, which gives it its characteristic bright orange tone, before being peeled. Black wicker is produced by boiling it several times in succession. Boiling does not improve the material’s properties—it simply changes its color. They also use natural, unpeeled wicker. Buff wicker is the most commonly used in basketry. All types are workable, although white wicker may be easier to handle, as it is a more noble and malleable material. They also work with rattan, a material that comes from Asian countries and is derived from a climbing plant. Due to its fineness and flexibility, it allows for greater creativity and the creation of much more complex shapes. They use chestnut wood as well, though in smaller quantities. Hazel (also known as ablano), which was traditionally widely used in basketry—especially by cutting thicker trunks to obtain strips—is no longer used, since materials now arrive pre-prepared and they no longer produce their own raw material. The materials somewhat determine the types of objects that can be made. Basketry with chestnut strips is more limited; wicker rods allow for more creative pieces; and rattan enables much more complex and delicate shapes, as the fiber has a uniform thickness and is more flexible (which is why it is widely used in workshops). Nevertheless, wicker remains the material used for the majority of their production. As for varnishes, they are no longer used today. In the past, all pieces were varnished with glossy varnish, and chestnut items were waxed. material2 Traditionally, his grandfather and father would gather wicker from the riverbanks —from trees of the Salix genus— where they went to cut it. In the Asturian language spoken in the area, willows are called mimbres or salgueiros, and the thin, elongated branches used in basketry are known as blimas or bilmas. In addition to wicker basketry, they also made baskets using chestnut or hazel wood, cutting the straight trunks into thin strips called baniellas. His father and grandfather would spend a week collecting materials along the riverbanks, using a bicycle with a small trailer. They usually went to the banks of the Nalón River, near the area of Forcinas (municipality of Pravia). They stored the materials in the homes of local neighbors and slept in barns; as a token of appreciation, they would gift a basket to the homeowners. Nowadays, cutting chestnut or hazel trunks, boiling them, slicing them, etc., is a labor-intensive and unprofitable task. Nevertheless, some people still do it, such as retired artisans of a certain age — like Tito from Paredes (municipality of Valdés), another from Navelgas (also in Valdés), and another from the municipality of Cangas del Narcea. Currently, both wicker and chestnut strips are sourced from suppliers in Salamanca —such as Artesanías Laz-mar (https://www.laz-mar.es/) or Mimbrecor— or from Valladolid (e.g., Juan García). Rattan is obtained from suppliers in Valencia and Barcelona, such as the company MasValls (https://masvalls.com/), or from others who import it from Asian countries. They also use a rope made from algae, which is supplied by Arte Vértice (https://www.artevertice.com/). Over time, they have worked with various suppliers from Salamanca, Cuenca, and Valladolid. Occasionally, friends provide them with local materials. The most commonly used materials are wicker and, to a lesser extent, chestnut. Rattan pith is frequently used in workshops and for fine or artistic pieces. There are generally no issues obtaining these materials, although they may be scarce at times due to exports. In recent years, the price of wicker has increased. In terms of cost, rattan is the most expensive material. There is no material that is particularly difficult to obtain, although chestnut —which comes from Baños de Montemayor, in the province of Cáceres— can sometimes be hard to source. Wicker is cultivated in large industrial production areas, especially in Salamanca and other parts of Spain, using specialized machinery. material3 In basketry, scraps can be reused in various ways. For example, if leftover rod cuttings of a certain length remain after making a piece, they can be repurposed for the base of a basket or for crafting smaller items. Although some waste is generated, almost everything is utilized. The remnants that can no longer be used in production are used as firewood or fuel for fireplaces and wood-burning stoves. production1 In the past, the process was much longer, as it was necessary to obtain raw materials from the natural surroundings. One had to go to the riverbanks, where the trees grew, to cut the necessary branches (blimas). The best time to harvest the fibers was during the waning phases of the moon, and two harvests were carried out each year. Afterward, the material had to be peeled, boiled, and cut to the appropriate size. Nowadays, peeling is done with machines, but in the past, it was done while the material was still green, using two sticks like tongs to remove the bark from the fiber. Currently, the material is sold in bundles, sorted by size and in various qualities: more or less flexible, with greater or lesser resistance, hardness, number of knots, etc. Upon receiving it, it is stored and then soaked in water until it reaches the optimal point for working. It must be moist, as it breaks when bent if it is dry, and can also break if it is too wet. Peeled wicker requires between 1 and 2 hours of soaking, while unpeeled wicker may need up to 8 days. White wicker needs less time; boiled and black wicker require more. The artisan knows it is ready simply by touch. Depending on the piece to be made, the material is selected based on thickness and length. The essential part of the process is hydration, which is done in vats—often the same ones that were traditionally used to boil the wicker, helping to achieve a brighter color and making peeling easier. Once hydrated, the blimas are selected. For the basket bases, the thickest ones are chosen to form the stambres: the pieces that make up the base on which the weaving is done. The base can have various shapes and be assembled manually or with the help of guides such as the taruco, a wooden slat with holes where the pieces are fixed in parallel before weaving. With the base ready, the next step is estambrar, which involves placing the vertical estambres (blimas or rods) that shape the body of the basket and on which the walls are woven. To fix them to the base, cordones are used: four thin blimas that are interwoven with the estambres and the base to secure them. The next stage is weaving the basket. If it is a basket with a handle, two long estambres are left to form the handle. Then, weaving begins by passing the blimas between the estambres, shaping the body of the basket. Depending on the desired shape of the basket, it can be woven by hand without any support. However, in the case of truchera baskets (for fishing), molds or forms are needed—shaped like the basket and available in various sizes—to give it its final shape. Once the body is woven, the upper part of the basket is finished with an additional weave that provides the necessary firmness. This finishing is called the arbín, and it consists of three or four wicker rods woven simultaneously, known as cordones. Sometimes, to speed up the process, the work is divided between the two siblings. For example, she makes the basket bases, and he handles the finishing. In fishing baskets, Mari makes the base, José weaves the body, and Mari finishes the lids. The work alternates depending on the piece. Mari usually handles the bases, lids, handles, coloring, and varnishing. production2 The tools used in basketry are simple. In wicker basketry, the main tools are a knife, an awl, and scissors. The knife is used to cut the blimas to the required length or to split them. The awl is used to make holes in the weave to insert rods, and the scissors are used to trim excess material once the basket is woven. Additional tools are also needed. Molds are chestnut wood pieces that serve as forms for making certain types of baskets. For example, river fishing baskets are made using solid chestnut wood molds. Once the basket is woven around them, the molds can be disassembled and removed through the opening of the finished basket. There are also molds for railway baskets, sea fishing baskets, and Dutch-style baskets. These are very old pieces (some over 80 years old), inherited from his father and grandfather. José has also made his own molds for custom orders and specific designs. The cepo is another type of mold—a solid chestnut piece shaped like the rim of a basket lid. The rims are fixed to it using heat to increase flexibility and allow them to be shaped. They are then left for several days until they retain the desired form. José also makes his own molds when needed. In basketry using chestnut or hazelnut strips, specific tools are used: •The cuchilla, to split logs and obtain strips. •The rasera, a double-handled blade used to clean and smooth the wooden strips. •The cuña, a small iron tool with a handle used to adjust the strips (baniellas) in the weave. As the basket dries, the strips separate, and the wedge is used—struck with a hammer—to bring them together and eliminate gaps. More specialized tools include: •The grifa, used to bend or straighten thicker wooden pieces, such as chair legs. •The banco de forma, a vertical board with holes where sticks are inserted to shape them. The number of tools has decreased over time, as raw materials now arrive pre-processed and cut to size. They own a machine inherited from their grandfather, now unused, which was used to remove the core of wicker blimas and turn them into very fine strips. These strips were used to cover basket handles or make delicate lids. However, the machine is no longer used because the material now comes already shaped. Tools that are no longer in use include the wedge, the scraper, and the peeling machine. Most of the tools were inherited from the family, although José has also acquired modern electric tools over time. production3 These are simple tools used in a creative process that is fundamentally manual. Most of them were inherited from his father and grandfather, which gives them a strong sentimental value. Additionally, some tools—such as the wedge or the scissors—are specific to his craft and not easy to find, so they have had to be repaired on occasion to keep them functional despite their age. production4 His work relies primarily on manual energy. However, for certain processes, he requires electrical energy, which he obtains from the conventional power grid. His workshop has no windows, so artificial lighting is needed at all times. Still, having access to natural light would greatly improve the working conditions. He does not use renewable energy sources for lighting or heating. Since the workshop is located on the ground floor of a building in an urban center, implementing such systems is difficult. Nevertheless, the space is well insulated and warm, so in winter he rarely needs to turn on an electric radiator for heating. In summer, the workshop also remains cool. production5 The waste produced mainly consists of leftover pieces of wicker and other fibers used in crafting. These scraps are reused as fuel for wood-burning stoves or for heating homes. If not reused, they are disposed of as organic waste. No hazardous waste is generated, as all the materials discarded are biodegradable. workshop His first workshop was located in Cuero, in the family home. Later, they moved to Grau/Grado and worked in various locations until settling in the current one, which they opened in 2012. The workshop is located at the back of their store and is a small space, barely 30 square meters, where they store raw materials, tools, and carry out their work. A large workspace is not necessary, as the artisan usually works seated on a stool, shaping the pieces with the help of hand tools and molds. The workshop is connected to the store, allowing them to pause their work at any moment to attend to visiting customers. products1 They create all kinds of basketry items, especially in wicker. Their production is highly varied: from round baskets with a handle—a basic and simple piece—to chairs and armchairs, lamps, boxes, trunks, trays, Christmas baskets, cradles, vases, sports trophies, umbrella stands, and covered bottles, among others. In other parts of Spain, it is common for workshops to specialize in a single type of product (such as baskets, chairs, or armchairs), but José and Mari make all kinds of items. In addition to crafting new pieces, they also restore old ones. They repair the vegetable weaves of rush or esparto chairs and create new upholstery using natural fibers, either on antique furniture or on pieces that are being given a new aesthetic. They work with a wide variety of fibers used in basketry: wicker, chestnut wood strips, rattan, esparto rope, paper rope, and more. Currently, most of their production is focused on decorative items or custom orders made by individuals, florists, bakeries, greengrocers, and other clients. Traditional types of pieces—such as the cesto rey (used to carry soil, fertilizer, or grass) or the goxos (large baskets for storing grain)—have now become decorative objects, ethnographic pieces, or are used to store firewood or blankets. However, some of these items are still used in the countryside. A few years ago, they also produced many fishing baskets and Christmas baskets, although that production has declined. Many of their creations are based on traditional designs, but they also develop new models and original pieces, inspired by examples found online and on social media, or based on custom requests. For instance, they have introduced new lamp designs inspired by models seen on the internet. They have received a wide range of commissions: gazebos, cradles, pet accessories, bed headboards, sewing boxes... On one occasion, they even crafted the basket for a hot air balloon. products2 The main purpose of their entire production is for sale. Most of it is sold directly to the public, another portion is through custom orders, and a third goes to long-time clients who resell the items in shops located in different parts of the country. products3 The artisan has a physical store where he sells all his items directly to the public and also receives ongoing custom orders from clients looking for specific pieces. He also maintains relationships with several shops that were already clients of his father, supplying them with fishing baskets and other products. These stores, located in Asturias and the Galicia region, purchase part of his production. He no longer attends craft fairs or markets, as sales were limited and did not justify the effort involved in traveling, setting up the stand, etc. He only participates in local fairs. Occasionally, it was worthwhile if a craft workshop was included, but in recent times he prefers to continue working in the workshop and attend only specific commitments. He receives a wide variety of orders from individuals, bakeries, florists, and others, for whom he makes baskets, displays, trays, vases, and more. For florists, for example, he creates many vases for flowers and events. He also fulfills requests for furniture pieces. products4 Restoration of furniture and objects made entirely or partially using basketry techniques and vegetable fiber weaving. Renovation of woven furniture (chairs, armchairs, etc.). Custom orders for all types of basketry items. Consulting services on topics related to basketry. One of the most requested services in recent times is the repair of chair seats made with vegetable fibers such as rush or esparto grass. Chair and seat restoration is a very common task. Basketry workshops have been offered occasionally, but it is not a service provided regularly. products5 He receives orders to restore and repair all kinds of items related to basketry and vegetable fibers. For example, it is common to repair bakery baskets, which tend to wear out with use. Whatever the issue, he is open to finding solutions and maintains direct, personalized communication with the client. products6 Customers are very diverse, both local and foreign. There are different profiles: from local clients who seek specific products, to international tourists who appreciate handcrafted work and are willing to pay a high price for it. In their experience, there is a clear distinction between the local customer—regular, who sometimes finds the product expensive and tends to haggle—and the foreign audience, for whom the prices are very affordable. This reflects differences in purchasing power and, at times, cultural factors. Differences are also observed between age groups, both young and old. During the summer, the store receives a large influx of foreign visitors, especially tourists and pilgrims, as the Camino de Santiago passes right by its door. They receive all kinds of custom orders: made-to-measure furniture and drawers, Christmas baskets, among others. They also receive orders from outside Spain. For example, they have a client in Switzerland who imports Christmas baskets, since this type of product is hardly marketed in Spain nowadays. Bakeries are another regular customer, for whom they make baskets to store and sell bread, as well as flat trays for empanadas (an empanada is a filled dough preparation, usually baked, typical in many regions of Spain). Social media serves as a showcase for their handcrafted production. It allows them to reach a wider audience and facilitates the sale of their products. Years ago, the peak work season began at Christmas. From August or September, mass production of Christmas baskets would begin. Once that campaign ended, production shifted to fishing baskets. At one point, they supplied many stores throughout Galicia. However, in recent years, production of both items has declined, and now the focus is more on the summer season and tourism. Customers especially value that the product is locally made, and many are specifically interested in the quality and regional origin of the pieces. products7 Their production does not carry any certification or label. They are only listed in the Asturias Artisan Registry, which is maintained by the regional government. However, this registration does not offer any advantage for their business. They do not apply for public aid and do not consider it to add any value to their products. tourism1 They do not participate in activities directly related to tourism, beyond selling their products to tourists. On one occasion, the local council proposed organizing a workshop, but the initiative did not materialize. They have conducted a few very small workshops for visitors. They do not plan to get involved in such activities, especially since retirement is approaching. tourism2 “Los extranjeros no miran el precio, cogen lo que les gusta, lo traen, y lo pagan sin quejarse. Los de aquí siempre tratan de regatear” partnership They do not belong to any artisan group or association. They maintain relationships with other artisans in their area, but not through any formal platform or organizational structure. They collaborate with Natalia Suárez (Woodic, https://woodic.es), for example in exhibitions such as the one held at the Oviedo Conference Center (https://www.instagram.com/p/C72HniXs7Rd/) or at the Grand Palais in Paris during the Fine Craft & Creation Biennial (May 21–25, 2025, Grand Palais, Paris) (https://www.instagram.com/woodic.es/p/DJ_Tt8ONncw/). In this case, they combined traditional basketry with ceramic pieces to create artistic works. Regarding public institutions, they have collaborated with the Muséu del Pueblu d’Asturies and the Muséu Etnográfico de Grau/Grado. They have also worked with the Grau/Grado City Council (the municipality where they live), participating in craft fairs such as the La Flor festival, and organizing basketry exhibitions at the local cultural center. In 2022, the Muséu del Pueblu d’Asturies —the most important ethnographic research center in the region— produced a documentary about their work, documenting the entire process of making a railway trunk/basket. They also collaborate with the museum in restoring old basketry pieces. challenges1 One of the main challenges that both José and Mari emphasize is the amount of bureaucracy that small artisans like them must face. In their case, for example, they mention taxes, such as those paid for the workshop space or the 21% VAT applied to each item sold. They do not own a computer and find the amount of paperwork excessive. Like many self-employed workers, in order to carry out their basketry work, they must issue invoices —now electronically— and deal with a significant bureaucratic burden, including tax declarations, social security contributions, workshop insurance, civil liability coverage, and many other requirements. Moreover, the legislation applied to small artisans is the same as that for small and medium-sized enterprises, which means that some maintenance costs, such as water bills, are high despite low consumption. One example is when they export pieces to Switzerland: they’ve encountered issues at customs because their invoices are still handwritten, which increasingly causes problems as paper invoices become less common. They believe a possible solution would be the creation of a special legal status for artisans, with a classification within economic activities that would allow them to work with fewer bureaucratic obstacles. Their production volume and income are not high. For instance, during the COVID-19 pandemic, the government proposed a series of aid packages for businesses affected by declining sales. In their case, they were not eligible because they were classified as a workshop rather than a retail business —even though they sell their products directly in the workshop’s store, alongside other items. Another major issue is the number of hours the craft demands. José arrives at the workshop every day at 8 a.m. and spends nearly the entire day there. He continues in the trade because he enjoys it, but the number of hours required is disproportionate to the income he earns. In another job, he would have a salary and a fixed schedule, but here he also has to cover numerous expenses, such as rent, taxes, and basic services. What keeps him going is the freedom of working in his own space. While working, he feels immersed in his own world, doing what he loves. Despite creating local, sustainable artisan products, he must compete with foreign goods, such as those produced in Southeast Asia at much lower costs. He says it’s a shame that this craft is disappearing. He receives orders from all over Asturias and insists that there is no one else in the region making custom pieces. He repeats that there are no basketry shops or artisans left in Asturias. He receives no support of any kind —neither financial nor social. In fact, he has even had problems with the local police in Grau. They don’t allow customers to stop for even a few minutes in front of the shop to pick up their orders. People pull up with their cars, lights on, wearing safety vests —and they’ve been told to leave. He doesn’t ask for help, just to be allowed to work. He admits this wears him down, and little by little, he’s burning out. If he were working for a company, he wouldn’t have this problem. He says it’s a shame to give it up, but he’s tired. He’s decided to focus only on the most basic tasks. He feels exhausted —he’s been working for over 50 years, since he was 12— and now he just wants to do simple things. challenges2 “Cuando lo dejen esos, que tan jubilaos, no encuentras a nadie que te haga un sillón de mimbre. Y aquí en Asturias, no sé si encontraras a dos que te hagan un sillón de mimbre”. “Casi nadie recoge encargos ni hay quien te haga ya estas cosas”. “la pena es que cuando esos cuatro que quedan no hagan nada, no queda nadie […]. Un cesto lo hace cualquiera […] pero cosas más complicadas, ya no hay nadie que las haga. Las cestas de pesca van pa Galicia […] allí ya no hay nadie que los haga. “Muchas horas… y luego tampoco cobras lo que tienes que cobrar…” “Y sacas un sueldín, porque aquí, claro, la renta, la luz, el agua, impuestos… references Anon. (2021). «El arte de tejer con mimbre». El Correo de Central Lechera Asturiana, n.° 428, pp. 48. Anon. ([s. f.]). «El arte de tejer con mimbre». El campo y la mar. La revista del sector primario en Asturias., n.° 18, pp. 26-27. Cultura Gijón Xixón. 2021. Cestería de mimbre. Fabricación de una maleta de ferroviario. https://www.youtube.com/watch?v=nRu5k63MvJQ Fanjul Mosteirín, José Antonio; Rodríguez del Cueto, Fernando; Expósito Mangas, David (2024). La cestería en Asturias: Una técnica milenaria. Gijón / Xixón: Red de Museos Etnográficos de Asturias. Social Media The social media links. facebook,https://www.facebook.com/p/Cester%C3%ADa-Grao-100057049677134/;instagram,https://www.instagram.com/cesteriagrao/; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/José_Ángel_González_del_Río Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource José Ángel González del Río 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 1962 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 671 Source A related resource from which the described resource is derived artisans,asturiasmap Spatial Coverage Spatial characteristics of the resource. current,43.39279877223144,-6.067385808018965; 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. 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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 UNIOVI_PR_09(16) 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 2025:08:24 11:02:14 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. 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Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:08:24 11:02:24 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/3623c7da9480258619982fcd510db4b6.jpg 7d44a92b025a4882a07ee66977078d4e 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 UNIOVI_PR_09(18) 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 2025:08:24 11:02:33 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/5ef1f8c99573731b9db8a7cc88abdcf5.jpg 686598ebcb8a61001f7b29dcd3bcb8b6 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 UNIOVI_PR_09(19) 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 2025:08:24 11:02:47 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/c68521f6f568f7e8a221629756a124d3.jpg 12234771ff7e73e62dfc8f38e60c49a5 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 UNIOVI_PR_09(20) 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 2025:08:24 11:03:02 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/b28d57b971cfc30347439651e3c08aa5.jpg e56ae9feba6fe2d74517c0dab5da5442 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 UNIOVI_PR_09(21) 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 2025:08:24 11:03:13 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/7a9bcd89347e0a950b570dfc4ff2b1ed.jpg 1d14e57fa769ce1c78cb112f1edcfc96 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 UNIOVI_PR_09(22) 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 2025:08:24 11:03:53 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/545c7c1110bd485a2b1e3fb337e97570.jpg 75cef8acfb9aa9cff608730ebc50506c 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 UNIOVI_PR_09(23) 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 2025:08:24 11:03:35 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/55ccac50b345e16ed0a8f83fb273a072.MP4 1e0f42a0f3e13a385831d79df550bcb8 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 UNIOVI_PR_09(01) 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 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_09_01_.MP4 https://culturality.museum/omeka/files/original/95cb0055db53c326411984b21ae8f3b8.mp4 723affab631e0a1466205af20ea51d1d 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 UNIOVI_PR_09(02) 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 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_09_02_.mp4 https://culturality.museum/omeka/files/original/8e66a7898aac47b684ff69dc69261a42.MP4 fee860a6c31b7ce7fac06c5be7c83723 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 UNIOVI_PR_09(03) 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 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_09_03_.MP4 https://culturality.museum/omeka/files/original/84c5fccf925f255bc63413e7b8b5d656.mp4 191be8714642e5bd31eb76e17077d90f 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 UNIOVI_PR_09(04) 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 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_09_04_.mp4 https://culturality.museum/omeka/files/original/d5a8eba4de25cfa25ecda1b7d62c6763.MP4 5992756131b9d4aa4fced885dc960bf1 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 UNIOVI_PR_09(05) 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 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_09_05_.MP4 https://culturality.museum/omeka/files/original/3749251119da69ebb6504a52e4e67edb.mp4 117cde0682edbcd95af8daf0b6bd7dad 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 UNIOVI_PR_09(06) 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 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_09_06_.mp4 https://culturality.museum/omeka/files/original/cd1a456e6a5d3ff268eb9d2edfc5af13.MP4 3025cf90df93f6a4e9375648a9f0dbd5 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 UNIOVI_PR_09(07) 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 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_09_07_.MP4 https://culturality.museum/omeka/files/original/e38083d46d371baaa513e99d842b53b0.MP4 02c86231ae3fb1c8d564b206a67226d7 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 UNIOVI_PR_09(08) 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 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_09_08_.MP4 https://culturality.museum/omeka/files/original/cfa640d8612f647634c2f56b882ba6da.MP4 1ca143c0bba3e12ad40bd4aedb1d672e 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 UNIOVI_PR_09(09) 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 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_09_09_.MP4 https://culturality.museum/omeka/files/original/9fb497b246debf8c0422887ec3d1b281.MP4 43a9a79ac5cce4ec06fe097a09ddcd71 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 UNIOVI_PR_09(10) 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 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_09_10_.MP4 https://culturality.museum/omeka/files/original/30115ac7dd5983e02c0ad091f7c96359.MP4 53219f29498450f87458211dafafba5c 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 UNIOVI_PR_09(11) 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 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_09_11_.MP4 https://culturality.museum/omeka/files/original/752e49ac1d1bf3af8c308bf6a0e5235d.MP4 3c1160d52f0e43f0aa87cb6fffcce56a 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 UNIOVI_PR_09(12) 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 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_09_12_.MP4 https://culturality.museum/omeka/files/original/af4e14324c78378a7ca81e76008e03a9.MP4 676307df8926030696891ef6d0686348 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 UNIOVI_PR_09(13) 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 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_09_13_.MP4 https://culturality.museum/omeka/files/original/09bb3110ca383f820a0c0866e0c95652.mp4 4fa83b17fa3d6436ae103b8e10200eaa 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 UNIOVI_PR_09(14) 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 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_09_14_.mp4 https://culturality.museum/omeka/files/original/e3708125e028b38808b04b8587eb40e6.MP4 ee5f2fd9cdf8982fe0fbbca4d957ac19 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 UNIOVI_PR_09(15) 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 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_09_15_.MP4 https://culturality.museum/omeka/files/original/f8061f62f8dac6568f88f7b3b18612c5.MP4 6523e5c6fe83f8ddea367c6fc9e0b08f 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 UNIOVI_PR_09(16) 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 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_09_16_.MP4 Artisan An artisan Author iain Prim Media 1577 Biographical Text Marina Pérez Rodríguez was born in 1992 in Pruvia, a village in the municipality of Llanera (Asturias). She spent her childhood in the countryside, on her grandparents’ organic farm. They were pioneers in introducing organic horticulture in Asturias, and Marina spent much of her time there.She studied Fine Arts at the University of Salamanca, where she met Rodrigo. The couple later moved to Pontevedra and eventually settled in Oviedo, where they worked in the tourism sector. In 2018–2019, they moved to Tene, in the municipality of Quirós. It wasn’t a planned decision—they were looking for a rental home in a rural area and found a reasonably priced house there. Their first child, Antón, was born in Tene, and Marina began developing her craftwork in the textile sector. A few years later, they acquired their current home: a cabin on a large mountain estate, where they raise a flock of xalda sheep. Marina lives there with her family, cares for her children, and pursues a lifestyle based on craftsmanship, self-sufficiency, and harmony with the natural environment. In 2022, after the birth of her third child, Marina attended a course for women entrepreneurs in rural areas, organized by Camín Real de la Mesa, the local development agency for the region that includes Quirós. This course was the seed for her project and the business model she has developed as a craftswoman. Until then, she had been spinning her own wool at home, but she began outsourcing the spinning to a mill. Her production was very small, and she was still in a learning phase. Today, her work as a textile artisan has become well established, and she produces a variety of products under her brand La Flor Cerval. External ID UNIOVI_PR_09 Knowledge Acquisition Marina did not come from a family tradition of working with wool. It was her sister who received an old spinning wheel from Germany as a gift from someone she had cared for. Shortly after, she gave it to Marina, and that marked the beginning of her experimentation with wool. Although Marina knows that her great-grandmother used to spin wool by hand in her village—like many rural Asturian women did until not so long ago—she never saw her grandmother spin. There were no sheep at home, nor was wool ever worked. She learned to knit thanks to her grandmother, her mother, and her stepmother. The latter, daughter of Spanish emigrants in Switzerland, taught her different ways of working with yarn, and Marina gradually developed her own technique. As a child, she remembers seeing sheep in nearby fields and feeling a special fondness for them. Being born in a rural area, in a family deeply rooted in their place of origin—Pruvia, in the municipality of Llanera—allowed her to be in close contact with traditional culture and agriculture from a very young age. Her relationship with older people also gave her valuable knowledge that later proved useful, both in her hometown and in the village where she now lives, Tene. One of the reasons she began her craft was motherhood. After having her three children, she started knitting clothes for them and wanted to make use of the wool from the sheep they raised—a flock of xalda sheep, a native breed of Asturias. Her craft emerged naturally at home, alongside other domestic and farm tasks. Her learning process was based on experimentation and sharing experiences with other knitters. For Marina, the satisfaction of creating her own garments from the raw material she produces is deeply meaningful—wearing something she has long desired, and making clothes for her children, is a source of pride and fulfillment. Knowledge Transfer Marina has received several proposals to lead workshops, both from associations and individuals, and she has conducted a few of them. However, she does not have a dedicated workspace, which means she would have to use her home. If she had access to a suitable venue, she would be open to organizing short courses—for example, on sock knitting. Nevertheless, her focus is currently more on production than on teaching. She has not delivered formal training, nor specific courses aimed at other artisans, and she has never had apprentices. Still, if she had an appropriate space to host workshops, she wouldn’t rule out the possibility of offering training related to the world of wool. That said, teaching is not her main goal. She believes her potential audience should be young people interested in learning to knit by hand with needles, and who would then apply the technique at home. In contrast, she considers learning to spin wool from one’s own flock to be more complex and impractical for most people. Field Worker Santiago Rodríguez Pérez Gender female Area Relation incomer Occupation other (specify),other (specify) Involvment part-time paid job knowledge1 Great technical skills or knowledge are not required—what matters more is sensitivity toward what you produce, the environment, and its meaning. For Marina, understanding and caring for the landscape, the role of small livestock such as sheep, and an awareness of biodiversity and grazing animals are essential. It’s not just about using resources to clothe people, but also about how to continue caring for the landscape. It’s less a technical skill and more an ethical commitment to the land, culture, biodiversity, and the value of craftsmanship as a way to improve people’s lives. material1 The primary material Marina uses for her creations is wool from xalda sheep. Almost all the wool she works with comes from this native Asturian breed, as she believes that without it, her project would lose its meaning. She also uses some natural dyes, although she mainly works with raw sheep wool. No other additional products are used. For labeling, she uses string and paper, and her creations do not require plastic packaging or synthetic materials. Xalda sheep wool is very rustic and tough. For Marina, its high resistance is an advantage. There is no standardized production of wool from this breed, nor are there classifications in terms of quality (such as fine or medium-grade). That’s why she and her team decided to work in their own way. One of the main strengths of xalda wool is its rustic nature. While the market today tends to favor the fineness of fibers—measured in microns—Marina finds it valuable to have diversity in fiber types, and appreciates having access to a coarse, durable, and resilient material like the wool provided by xalda sheep. Historically, Spain has used merino sheep wool, which came in various grades: fine wool, often exported, and medium-grade wool, used domestically. In Asturias, wool from native sheep breeds was also traditionally used. For Marina, it’s important to highlight and give value to this material. While many customers may not pay attention to the origin or type of wool, her goal is to connect with an audience that appreciates the quality of native and locally produced wool. Xalda sheep produce wool in three colors: dark brown, white, and cardina (gray). The latter is especially prized and is obtained through careful selection of the fleece. The main colors she works with are gray, brown, and white. Most of the wool produced is black, while white wool accounts for about 20% of the total. material2 Marina sources part of the wool from her own sheep, and another part from xalda sheep breeders. These are medium-sized farms raising native sheep, located across various areas of Asturias, including the municipalities of Quirós, Teverga, Gozón, and Belmonte de Miranda. Each farm typically has at least 60 animals. The native sheep breed of Asturias is known as oveya xalda, a variety that was once on the brink of extinction. This is due to its rustic nature, low meat and milk production, and coarse wool. However, the breed has seen a recovery in recent years, and Marina and Rodrigo chose it as the foundation for their project. Among its advantages are its adaptability to mountainous terrain, ease of lambing, and minimal need for veterinary care. According to local residents, flocks of xalda sheep were common in the area in the past. Marina receives the wool as a gift and does not pay for it, since for the farmers it is considered a byproduct of meat production. She usually attends the shearing sessions in person, selecting and weighing the wool on site. Although she offered to pay for it, the farmers preferred to give it away, as they saw it as a nuisance. Some used to burn it, while others simply threw it away. Collecting small amounts of wool from smaller farms is not cost-effective. Moreover, the spinning mills Marina works with—such as minimills like Wooldreamers—do not accept small batches, so she must gather a significant quantity of raw material before sending it for processing. In the past, wool was more valuable than lambs, but today the situation is reversed. The traditional figure of the wool buyer no longer exists, and while wool used to be purchased directly from the shearer, nowadays it is barely collected. This is the reality in Asturias, and wool is also facing a difficult time in other parts of Spain. material3 Marina generates very little waste from her work, both in spinning and knitting. The leftovers from spinning are reused, for example, as cushion filling. There are no surplus materials that require special management. The only residuals she receives are the unspun wool scraps returned from the spinning mill, which she plans to use as padding for garments. production1 The first step in the process is shearing the sheep’s wool. In the beginning, Marina sheared her own sheep using scissors, manually selecting the best parts of the fleece. At first, she did it by hand, then with an electric blade. As her flock grew, she had to rely on a professional shearer—she could only shear three sheep a day, and with her family responsibilities, it became unmanageable. In Asturias, there are several professional shearers, and one of them now handles the shearing of her flock. Marina also visits other farms during the shearing season to select the wool on-site. Wool selection is perhaps the most labor-intensive part of the process, along with knitting: collecting the wool from farms, transporting it, and sorting it. Only part of the fleece is usable, as some sections are damaged or dirty—up to 50% of the raw material is discarded. During the spinning process, after washing and carding, there is an additional loss of 40–50%, due to dirt, short fibers, or material left behind in the washing vats. The next step is washing the wool to remove all residues and part of the lanolin. Initially, Marina washed the wool by hand, but over time she began sending it to professional wool washers. She started working with facilities in Val de San Lorenzo (León, Spain), a town with a long tradition in the wool textile industry dating back to the 19th century. However, she needed to gather a large volume of wool to make shipping worthwhile. In recent years, she has been working with Wooldreamers, a spinning mill in Cuenca (Spain) that handles the entire process: washing, carding, and spinning. They send her the finished yarn, ready to work with. Marina has been affected by the decline of Spain’s wool processing industry, which has nearly disappeared. Over the past 50 years, most small-scale wool washing facilities have closed, along with many spinning mills and textile factories. Nevertheless, some small-scale projects have emerged, such as Dlana (https://dlana.es/nosotros/). Marina designs many of her pieces herself, based on her personal needs (shawls, jackets, etc.). She then continues with the production of garments and items such as wool toys. Her main technique is hand knitting with needles, through which she creates a wide variety of items: socks, sweaters, jackets, dolls, and more. To speed up production, she sometimes works with knitting workshops, to which she sends her raw material. She also has a knitting machine (tricotosa), which helps her produce more efficiently. In the past, the municipality of Quirós had more than 20 traditional wool looms, owned by individual women who practiced the craft at home. However, this domestic trade has completely disappeared. production2 Marina uses a variety of tools in her work. When she spins wool herself, she uses a manual carder and a wooden spinning wheel. For winding skeins of wool—cadexos, in Asturian—she uses a manual wooden swift. She also owns traditional hand-spinning tools, such as spindles and old spinning wheels, but rarely uses them because they significantly slow down the yarn-making process. Her knitting needles are partly inherited from her grandmother and partly purchased. Nowadays, it’s easy to find needles of all kinds, suitable for various types of wool work, thanks to the global resurgence of knitting. Initially, she used the long, thin needles that were common until a few years ago. Now, she mostly uses circular needles—shorter and connected by a cable—which can be held comfortably with the fingers. She also uses short needles specifically for knitting socks. There is a wide variety of knitting needles available, depending on the item being made (socks, sleeves, large pieces, etc.). These tools can be found in local yarn shops or haberdasheries. Marina also owns a knitting machine—a tricotosa—which she bought second-hand online. It’s a valuable tool that helps speed up production. One of the most appealing aspects of working with knitting needles is the flexibility it offers: she can knit anywhere, even while tending to animals in the pasture. This task is easily compatible with other daily activities. However, many machines have now been incorporated into knitting work, and some tasks—like yarn production—have been outsourced. Doing the entire process by hand is not economically viable, as the final sale price would be too high. In traditional systems, this was sustainable because women worked continuously and unpaid in their homes, producing gradually to meet their needs and fulfill orders, but at extremely low costs. production3 These are simple tools, but they offer many possibilities. For Marina, one of the great advantages of knitting tools is that she can work outdoors while caring for her children or tending to the animals. A pair of simple wooden needles allows for countless creative possibilities, anywhere. She can even knit while breastfeeding her youngest child. For her, it’s essential to be able to take her work anywhere and to create different pieces without relying on heavy machinery or a large workshop. production4 Her main source of energy is manual labor. However, for certain processes, she requires electricity, which she obtains from a solar panel installation with battery storage. The six solar panels, along with the batteries, allow them to power all aspects of life in the house: lighting, cooking, and appliances such as the washing machine, refrigerator, and freezer. To heat both the workshop and the house, they use a wood-burning stove, which also serves as a cooking appliance. production5 The waste generated by Marina through her knitting work has minimal environmental impact. The discarded wool can be used as fertilizer. The spinning mills she works with, such as Wooldreamers, do produce some waste, including the water used to wash the wool and remnants from the processing. This company has a waste management program in place. While the waste is not hazardous, it includes dirty water from washing vats, yarn scraps that are too short to be used, and similar materials. Marina requests that the factory send her both the spun yarn and the leftover material. She repurposes the latter as cushion filling, among other uses. In the future, she plans to use felted wool for padding vests or creating garments with interior insulation. Companies like Wooldreamers, where Marina processes her material, are working toward circularity and waste recovery, including initiatives such as producing fertilizer pellets from wool. workshop Marina’s workshop is located in her own home, an old two-story cabin situated nearly one kilometer from the village center of Tene (Quirós). These types of cabins are typically found away from towns, in grazing areas for livestock. They usually have two floors: the lower level was traditionally used as a stable for animals, and the upper level for storing dry grass and winter fodder. Marina and Rodrigo have adapted the cabin into a home, keeping the lower floor as a stable for their sheep. The upper floor has been converted into a living space with a kitchen, living room, bedrooms, and a bathroom. Marina’s workshop is set up in one area of the living room, where she stores her tools and wool. In the attic, she keeps raw materials, yarn, and finished products in plastic boxes (to protect them from moths), ready to be sold. The workshop is warm and welcoming, fully integrated into the home and shared with the rest of the family. From her workspace, Marina can keep an eye on her children and watch them play. products1 Marina produces knitted garments made from her own raw material: wool from xalda sheep. She is not a textile designer; her designs have mostly emerged from the need to meet her personal requirements. That’s how items like bonnets for her children, shawls, and jackets came to be. She believes that, as in traditional contexts, garments should serve a clear purpose—something that is being lost today. Nowadays, we can easily buy clothes in stores or large retail chains, but for living in a rural environment like hers, traditional clothing used to meet specific needs. While she values aesthetics, practicality is her priority. For example, she designed her jackets to be open, suitable for transitional seasons, and comfortable for breastfeeding. Each garment was designed based on her own needs and what she considered most versatile. Among many other items, she produces: •Raw wool yarn in three natural colors, as well as skeins dyed with natural pigments •Children’s socks •Bonnets •Shawls •Jackets •Woolen toys and dolls for children products2 The main objective of all this production is its sale, either directly or through local marketing channels aimed at consumption. It is one more activity within their farm, complementary to sheep livestock production. products3 He has an online store, which is one of his main sales channels. He also attends traditional craft markets and Christmas fairs. In the latter case, he highlights the LabShop market in Gijón, where he sells a significant portion of his products. Although some customers have occasionally come to his home to buy directly, this is not common practice. He also distributes his products to a few local shops, which sell them to the public. He does not have a physical store at home or a space open to the public. At one point, he tried to find a location in the village to open a workshop and a store, but due to tourism and rising prices, it was impossible. Most premises are either sold or rented to outsiders, making it unfeasible. Nevertheless, he would like to have a sales point in the village. products4 She has also considered offering weaving workshops, but the situation is not easy. Firstly, because her workshop is very small — it is located in her own home — and not easily accessible: it is 1 km on foot from the center of Tene, along an unpaved track with a 200-meter elevation gain. She has conducted some workshops and courses, but the lack of a suitable space and limited availability of time have made it difficult. She could host workshops at her home, but finds it exhausting, as she would have to act as a host and prepare her house for visitors. Currently, she is more focused on textile production than on offering workshops. products5 Yes, she even receives orders by mail for garments that need repairs. She fixes them and sends them back. For her, maintaining a certain closeness with the consumer is important—something that a label or certification cannot provide. If there’s a problem, customers can communicate it directly. She considers direct contact with the client essential. Unlike a conventional store—although she does have a website and an online shop—she also offers a more personalized service based on trust. products6 She has all kinds of clients, both local and international. However, her audience tends to have a special interest in organic and locally sourced textile products, values artisanal work, and is willing to pay a relatively high price for it. Many customers discover her through social media. Marina mentions Instagram as an important showcase where she presents her products and communicates her philosophy. She also sells a lot at craft markets, but many people already know her beforehand and are looking for a specific product. It’s less common for her to sell to strangers at these markets, as most people go directly to her knowing what they want (pp. 17, 26). Generally, customers come specifically looking for her products, which they’ve usually discovered through social media. Although she hasn’t conducted a formal market study, she has identified several customer profiles. One group consists of women aged 50 to 60 who enjoy knitting. Older women tend not to buy her wool, as they associate it with a rural or impoverished past. Most of her buyers are women; male customers are rare. Many clients also seek garments that reflect a commitment to the environment, sustainability, or the preservation of traditional landscapes. products7 She does not have any label or certification that guarantees the quality of her product. She believes these may be useful in large-scale commerce, but not for a small producer—they simply don’t make sense to her. What matters most is the level of trust built with the people who buy from her, through direct contact with the consumer. She doesn’t see the need to use labels on her products, as her customers usually know her beforehand and are already familiar with the production process (entirely carried out in Spain with locally sourced materials), so a label or certification wouldn’t add much value. However, the spinning mill she works with for wool yarn production (Wooldreamers – https://wooldreamers.com) does have OEKO-TEX certification. She also doesn’t hold an artisan license or accreditation, as artisanal work is just one aspect of her life. At home, she also carries out other rural tasks, such as tending to her flock of sheep, maintaining a vegetable garden, and more. Nevertheless, she is registered as a self-employed worker. tourism1 She does not participate in activities directly related to tourism and, in fact, is somewhat reluctant to do so. Although she has considered it on several occasions (p. 23), her previous experience in customer service was not positive. In her former job at a hostel located in an apartment in central Oviedo—where she managed bookings, cleaning, and room service—she experienced firsthand what working with the public entails, and it was not something she enjoyed. She acknowledges that many people enjoy new experiences, but in her case, she finds it difficult to organize activities to entertain visitors, as well as to market them. In her experience, knowledge has traditionally been passed on without any economic transaction, and she believes that the most valuable information she received was given freely. She also feels that many of the people who attend the occasional workshops she offers are unlikely to use a spinning spindle again; they participate for entertainment, often with little genuine interest. For this reason, she does not find it fulfilling to offer activities focused on the tourist experience. She is not opposed to tourism, but she also recognizes that it often leads to issues such as gentrification and limited access to housing for young locals—especially due to second homes being purchased by foreigners. Her main activity is the production of sheep wool yarn and the creation of garments made from it, and this is the work she finds most satisfying. tourism2 “Yo no estoy en contra del turista. Eso ya ye un aporte. Mejor algo de vida que ninguno. ¿Qué pasa, qué lado oscuro tiene esto? Que las casas se revalorizan, nosotros tenemos que vivir aquí [en la cabaña] pero no nos hubiéramos podido permitir comprar una casa en el pueblol, lo que sería lo normal. ¿Por qué? Porque unos chavalinos de veinte y cuatro, veinte y cinco, que eran los años que teníamos cuando vinimos aquí, nunca van a poder pagar el estándar de precios de uno que viene de Madrid, o de Holanda. Me parez que el 40% de las casas de los pueblos véndense a extranjeros. Porque ellos pueden pagalo. ¿El turismo qué hace? Subir los precios, subir el pan. partnership She does not belong to any artisan group or association. While she maintains relationships with others in her field, these are not through any formal platform. Through her work, she also has strong professional ties with breeders of Xalda sheep, from whom she sources her raw material. She collaborates with various companies and artisans. One of the most significant partnerships is with the Nuedu project (https://nuedutextiles.com/), led by artist Irene Trapote (https://laboralcentrodearte.org/es/residentes/irene-trapote-5/), to whom she supplies wool for different artistic proposals as well as for handmade garment production. She also provides wool to artisan Denise Ochoa, who runs the project “Boriando Knits” (https://www.instagram.com/boriando.knits/). Another ongoing collaboration is with dye artisan Almudena Cerezo, a Navarre native based in Galicia, who leads the project Materia Botánica (https://materia-botanica.com/about ; https://www.instagram.com/materiabotanica/). This project explores the possibilities of natural dyeing using waste materials, agricultural residues, and plants. Their collaboration involves creating a scarf made from her wool, dyed with natural pigments. She is also working on a proposal with the Basque brand Boinas Elosegui (https://www.boinaselosegui.com/), for whom she is developing yarn with a specific thickness required to produce a medium or small batch of berets made from Xalda sheep wool. She has received collaboration offers from well-known fashion brands in Spain, but has declined some of them, as she couldn’t find a way to align her vision of wool craftsmanship with the commercial approach of those brands. In some cases, the brands contacted her through their marketing departments, showing particular interest in her image and in becoming part of the universe she has created around her work. Regarding public institutions, she has collaborated with the Ethnographic Museum of Quirós and with La Ponte Ecomuséu. She has also worked with local councils, such as those of Quirós (where she lives) and Grau/Grado, participating in craft fairs like the La Flor festival (Grau/Grado). Although she hasn’t established formal collaborations with academic institutions, she has worked with PhD students. challenges1 One of the biggest challenges is the crisis in Spain’s wool processing industry. There are hardly any washing facilities or spinning mills that work with small quantities of wool. The Spanish textile industry is currently in decline, and this affects her ability to collaborate with companies and process raw materials. As a result, costs for small producers are very high. To process a small amount of wool (in three colors), each color is treated as a separate batch, which increases the cost significantly. Producing wool from Xalda sheep is particularly expensive, and this impacts the final price for the customer. Although she has a large amount of raw material, the cost of processing makes the final product more expensive. Another major challenge is the housing crisis and the effects of tourism, which prevent many young people like her from accessing affordable rentals or reasonably priced homes in rural areas. In recent years, they have had to compete with people from across Europe, which has significantly driven up housing prices. Additionally, she faces the typical challenges of rural life, such as limited access to basic services. challenges2 [Speaking about idealizing rural life] ¡Idealizándola también! ¡Hay que tener una sobredosis de enamoramientu pa hacer frente a las dificultades! [of living in a village] references Álvarez, B. (2022, november 17). Lana de oveya xalda para vivir en Quirós. La Voz del Trubia. https://lavozdeltrubia.es/2022/11/17/lana-de-oveya-xalda-para-vivir-en-quiros/ Cabellos, T. (2023, november 16). Marina Perez of La Flor Cerval on Valuing Xalda Wool. Love Wovember. https://lovewovember.com/marina-suarez-of-la-flor-cerval-on-valuing-xalda-wool/ Continente, G. (2024, november 9). La Flor Cerval: Un proyecto textil que reivindica la producción sostenible y la vuelta a los orígenes. Vogue España. https://www.vogue.es/articulos/flor-cerval-proyecto-sostenible González, A. S. (2023, september 19). Lana que teje territorio. El Comercio. https://nuestrocampo.elcomercio.es/lana-que-teje-territorio/ Harabagiu, R. (2024, november 28). La Flor Cerval: Abrazando la simplicidad en la montaña. Raluca Harabagiu Blog. https://ralucaharabagiu.com/marina-perez-historia-de-la-flor-cerval/ Hidalgo, M. (2022, december 22). Marina Pérez, La Flor Cerval. Poner en valor la lana Xalda. Fusión Asturias. https://fusionasturias.com/asturias-empresarial/empresarios/marina-perez-la-flor-cerval-poner-en-valor-la-lana-xalda.htm Liedo, C. (2022, october 31). Producir hilo de lana de oveja xalda de forma industrial, el hito de una emprendedora de Quirós. La Voz de Asturias. https://www.lavozdeasturias.es/noticia/asturias/2022/10/26/producir-hilo-lana-oveja-xalda-forma-industrial-hito-emprendedora-quiros/00031666807278320435715.htm Social Media The social media links. facebook,https://www.facebook.com/people/laflorcerval/100088367524821/;instagram,https://www.instagram.com/la.flor.cerval/; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Pérez_Rodríguez,_Marina Shop https://www.laflorcerval.com/tienda Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marina Pérez 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 Asturian,Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 672 Source A related resource from which the described resource is derived artisans,asturiasmap Spatial Coverage Spatial characteristics of the resource. current,43.2049206177269,-5.993868917107711; 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. 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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 Basket manufacturing 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 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. 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Creative Commons Attribution-ShareAlike License 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. Sofia Gonzalez Sandoval https://culturality.museum/omeka/files/original/84fe63dbc6a860182446e4c630b186b8.jpg aa8924f0ae95e4ed9bdef1a0745bdd58 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 Basket manufacturing 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 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. Sofia Gonzalez Sandoval https://culturality.museum/omeka/files/original/622b963f1137269889641f80ba4f004a.jpg 1788167758d0b14f081d6cf9e9360940 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 Basket manufacturing 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 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. Sofia Gonzalez Sandoval https://culturality.museum/omeka/files/original/e84899708d29824f2ad00d08ed824e16.jpg afcfd7a0c8a113a651ac25b5038be2e6 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 Basket manufacturing 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 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. Sofia Gonzalez Sandoval https://culturality.museum/omeka/files/original/81758c0d4bed6aae3e1832ce6dce3519.jpg 3f19bff8c6e5f57d7fd8f57b9744b9a4 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 Basket manufacturing 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 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. Sofia Gonzalez Sandoval https://culturality.museum/omeka/files/original/e74615416f8e27ef93dbd08076113036.jpg b48f604979e0f9125f1fdbbedd406566 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 Basket manufacturing 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 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. Sofia Gonzalez Sandoval https://culturality.museum/omeka/files/original/14e3a292a9748cf0c79350781600e8e7.jpg 48056746673b738eb9213925450f549d 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 Basket manufacturing 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 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. Sofia Gonzalez Sandoval https://culturality.museum/omeka/files/original/645bb15f991e196cc6713e290bbee924.jpg 3fd4e059446c910a3129099c46420755 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 Basket manufacturing 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 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. Sofia Gonzalez Sandoval https://culturality.museum/omeka/files/original/0f97438d419b31528f476866caee492c.jpg 3598bc321fa9d6ccdb373ad74639c39e 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 Basket manufacturing 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 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. Sofia Gonzalez Sandoval https://culturality.museum/omeka/files/original/3d7b96fe39b76c414e3551932a7623c6.jpg 063d6dd98c47997f309531e8e42b89c8 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 Basket manufacturing 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 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. Sofia Gonzalez Sandoval https://culturality.museum/omeka/files/original/2830433a91a51c6d3260efe1235eed94.jpg b27b50d7b503f7b7f6a266416af92645 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 Basket manufacturing 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 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. Sofia Gonzalez Sandoval https://culturality.museum/omeka/files/original/b3bd7c39f7063711bd9e7ccde9c538c5.mp4 7978a34a4a0ac0e2815c20bd16cd619c 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 Basket manufacturing process and Interview 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 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. Sofia Gonzalez Sandoval 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_10_01_.mp4 https://culturality.museum/omeka/files/original/c131a89512422cd9d1a003272eb50d7c.mp4 427ed6a3f32b51f0904ae5f5760e0ae5 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 Basket manufacturing process and Interview 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 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. Sofia Gonzalez Sandoval 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_10_02_.mp4 https://culturality.museum/omeka/files/original/2bd3a7efd7581fa1b646c5ac23c29ee2.mp4 afa1efc88d6f2ab8cf4c966bb41b7266 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 Basket manufacturing process and Interview 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 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. Sofia Gonzalez Sandoval 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_10_03_.mp4 https://culturality.museum/omeka/files/original/a1bd862ab7a33d83fac18bdeb7b35101.mp4 07a36da1207db87fe5ee13c05edd89a6 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 Basket manufacturing process and Interview 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 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. Sofia Gonzalez Sandoval 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_10_04_.mp4 https://culturality.museum/omeka/files/original/b915a4659742bc9c0d1e1bcf8bb664d6.mp4 86c43e3acfb3a13fcdd1f4ee68316a33 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 Basket manufacturing process and Interview 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 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. Sofia Gonzalez Sandoval 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_10_05_.mp4 https://culturality.museum/omeka/files/original/6350d0787b82c4612c1f3c9ffe122fdf.mp4 81639ea724b9dd3d7fe6279b54c7339c 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 Basket manufacturing process and Interview 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 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. Sofia Gonzalez Sandoval 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_10_06_.mp4 https://culturality.museum/omeka/files/original/adac23f285035c59d6340c1847a32b61.mp4 1722b63a364c35574c54fe2ddbdb5d3a 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 Basket manufacturing process and Interview 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 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. Sofia Gonzalez Sandoval 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_10_08_.mp4 https://culturality.museum/omeka/files/original/2fc0e389a2737831eae39a858dae80b0.mp4 727296db9ba8ad123b413f19514b1178 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 Basket manufacturing process and Interview 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 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. Sofia Gonzalez Sandoval 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_10_10_.mp4 https://culturality.museum/omeka/files/original/10591139993422a6c17d614086cfa482.mp4 8bb7aab273289ef0f53158c5fa690543 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 Basket manufacturing process and Interview 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 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. Sofia Gonzalez Sandoval 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_10_11_.mp4 https://culturality.museum/omeka/files/original/53c529039f162b490078311b543002fb.mp4 fdc19aab09dfeaa5aa457f877d471885 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 Basket manufacturing process and Interview 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 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. Sofia Gonzalez Sandoval 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_10_12_.mp4 Artisan An artisan Author iain Phone The phone number Spanish phone code: 34 / 682 01 14 91 Prim Media 1617 Biographical Text Faustino Álvarez Álvarez, is a rural dweller who dedicated himself to the construction of stone walls, especially in villages and along roadsides. When he was a child, he learned to make baskets with the older adults in his village, but he never dedicated himself to being a basket maker or to making a living from the craft, since he had another job and his responsibility in the fields of his home. However, when he turned 65 years old, he retired and in the free time that his retirement offered him, he decided to take up traditional basket weaving and some carpentry work. She began to make all kinds of baskets (some of them highly complex) and other products that can be made with the same weaving technique with natural fibers, such as lampshades, napkin holders, home decorations, etc. Although Faustino is a skilled artisan with a remarkable talent for traditional basketry, he has never sold his pieces (he gives them as gifts to family or friends), he has not had the intention of making a business or giving basketry classes. External ID LAPONTE_PR_10 Knowledge Acquisition Faustino learned to make baskets when he was a child, around 7 years old. In the village where he lived, he would approach the elders who made baskets, and they taught him. Knowledge Transfer No, the artisan has never taught classes nor had apprentices. He mentions that this is because he did not make basketry his profession; he did not dedicate himself fully to it. Throughout his life, he had other jobs and worked mainly in the construction sector (building roads and walls). Field Worker Sofía Gonzalez Sandoval Gender male Area Relation incomer Area Reason Currently the artisan Faustino lives in the village of Lavares in the council of Santo Adriano. He was not born in that village but moved there 5 years ago when he started his retirement. Occupation other (specify),other (specify) Involvment hobby knowledge1 According to the artisan, basketry is an activity accessible to everyone since it is very affordalbe, easy to learn, and useful for many aspects of daily life; all that is needed are one’s hands and patience to learn. This is why basketry is "one of the oldest crafts in history and found all over the world". An important requirement, according to the artisan, is to be careful and responsible with the environment when obtaining raw materials. Natural cycles must be respected so that the different types of plants can regenerate. material1 He uses natural plants to obtain the rods for making the baskets. Mainly “San juaninos” a plant that is very easy to find in Asturias (Ligustrum vulgare), and wicker/willow (Salix viminalis). material2 These plants are very abundant in the local area (municipality of Santo Adriano, Asturias), and thanks to their abundance, Faustino is able to source all his raw materials locally. The willow for example grows on the banks of rivers, in this case the Trubia river in Santo Adriano. material3 During the basket-making process, there is no waste or pollution for the following reasons: - It is a very small-scale production, so raw materials are obtained in a controlled and responsible manner. - The production of baskets does not involve the use of any chemicals or artificial elements. It is 100% organic. - Leftover branches and leaves are used as compost for the artisan's agricultural activities and as firewood to heat his house in winter. production1 The artisan did not mention a specific name for his weaving techniques. He talks more about the series of steps that each level of difficulty involves, but did not give a specific name. production2 He mainly uses his hands, a penknife, a pair of garden shears to cut branches, and a pair of wooden tweezers that he made himself to clean the sticks (he removes the leaves from the sticks and the first layer of bark to give the wood a different color). production3 For him, it is very important to be in good health so that he can continue to use his hands. During the workshop, Faustino mentioned that sometimes his hands fail him (he feels pain and numbness) and he loses some mobility as a result. According to him, this is due to his age (70 years old), something that cannot be helped since “there is no cure for aging”, as he says. For an artisan, their hands are their most essential tools, and in the case of older artisans, declining health is an important factor to consider in terms of their motivation/energy to work. In addition, depending on their own bodies to be able to do their job is something that has an emotional impact on artisans as time passes and their bodies change. production4 None. production5 The only leftovers are branches and leaves. Faustino uses the leaves for compost in his garden and then dries the branches to use them in winter to heat his house (they are burned in the fireplace). workshop No. The artisan works at home, and mentions that he would not like to work in a workshop, with a group of people, or anywhere else because he likes the silence and peace he has at home. He also mentioned that basket weaving does not require equipment or a workshop. He simply sits on a log that he uses as a stool and begins to weave. products1 He mainly makes baskets of different sizes and designs, but he has also made lampshades, containers, napkin holders, fruit bowls, and home decorations. He also enjoys experimenting with carpentry, making simple furniture (chairs, benches, etc.) and wooden utensils (cooking spatulas, wooden spoons, etc.). products2 Faustino currently dedicates himself to basket weaving as a hobby, since he recently retired and is looking for a productive way to use his time. Everything he produces is done out of love for the craft and with the intention of keeping the knowledge alive. He has never sold his pieces, but instead gives them as gifts to family and close friends. products3 His products are not for sale. products4 None. products5 No. products6 N/A. products7 None. tourism1 No. tourism2 Quote: "Nunca pensé en involucrarme en el turismo... nunca pensé en dedicarme a la cestería, Surgió solo así." partnership No. challenges1 According to Faustino, there are no significant obstacles to basket weaving, as the material is abundant, easy to find (there are alternatives with different plant species), and therefore inexpensive. Nor is it necessary to have a studio or equipped workshop, and it is not necessary to buy many tools. The few tools he has are also affordable. During the basketry workshop, Faustino mentioned that the biggest challenge for craftsmanship in rural areas is the transmission of knowledge: in Spain, it is difficult to find apprentices or young people interested in learning craft skills, especially due to depopulation and abandonment of rural areas. challenges2 "No, la cestería no te da problema ninguno. No contaminas nada y no necesitas cortar árboles ni nada de eso. Puedes tejer donde quieras y no necesitas herramientas o muchas cosas." Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Faustino_Álvarez_Álvarez Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faustino Álvarez Álvarez 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 1955 / 70 years old 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 673 Source A related resource from which the described resource is derived artisans,asturiasmap Spatial Coverage Spatial characteristics of the resource. current,43.2852,-5.9837; 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. 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Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:09:30 10:47:59 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE 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 1641 Natural Cultural Cultural External ID LAPONTE_AR_13 Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/LAPONTE_AR_13 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_AR_13 Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 674 Source A related resource from which the described resource is derived artisans,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). 30/09/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/8a546832b474b97df71ff8ee80c91260.jpeg 5cce2bea1f2b9a5deccd36b02fe05f3c Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. 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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 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/5602fd8d3f4d7ccc1f2dc48757fff5dc.jpg 39c4a49cf1416c9e7128a65e1680a0b8 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 LAPONTE_AR_15 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 2025:09:30 10:54:26 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE 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. 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Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:09:30 10:58:23 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE 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 1647 Natural Cultural Cultural External ID LAPONTE_AR_16 Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/LAPONTE_AR_16 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. 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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 LAPONTE_AR_17 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 2025:09:30 11:01:05 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE 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 1649 Natural Cultural Cultural External ID LAPONTE_AR_17 Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/LAPONTE_AR_17 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_AR_17 Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 678 Source A related resource from which the described resource is derived asturiasmap,craftedobjects 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 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/fbbb042cab70df6ce812ac2a144515e5.jpeg cb3d0b876df965f0ac44edfa41091998 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 LAPONTE_AR_18 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 2025:09:30 11:04:48 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE 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 1651 Natural Cultural Cultural External ID LAPONTE_AR_18 Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/LAPONTE_AR_18 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_AR_18 Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 679 Source A related resource from which the described resource is derived asturiasmap,craftedobjects Date Submitted Date of submission of the resource. 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Title A name given to the resource LAPONTE_AR_22 (1) 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 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/2cb5fe98cd75c406d43099b8e1f1e224.jpg 4a2eb4e13853604ca294832017b66f67 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 LAPONTE_AR_22 (2) 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 2025:09:30 11:09:53 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE 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 1653 Natural Cultural Cultural External ID LAPONTE_AR_22 Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/LAPONTE_AR_22 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_AR_22 Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 680 Source A related resource from which the described resource is derived asturiasmap,craftedobjects Date Submitted Date of submission of the resource. 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Title A name given to the resource LAPONTE_AR_23 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 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE 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 1656 Natural Cultural Cultural External ID LAPONTE_AR_23 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. 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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 LAPONTE_AR_24 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 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE 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 1658 Natural Cultural Cultural External ID LAPONTE_AR_24 Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/LAPONTE_AR_24 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LAPONTE_AR_24 Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 682 Source A related resource from which the described resource is derived asturiasmap,craftedobjects 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 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/4bd18ee49dc1baf79950f8983ea7d413.jpg a8a68f11a94a0729d2fb21c0e7ac40d6 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/. 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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 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/fcdffa0f48cbc4569dc4d8313fd3ef66.jpg 11c2adf8b3ac21c1c7544a36a8f355e1 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 LAPONTE_AR_26 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 2025:09:30 14:42:19 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE