15 100 1899 https://culturality.museum/omeka/files/original/2187aebb641d78393fd0cae8603c4365.jpg 3ec0cb8655eeb9912120792f1d11848b 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. DescriptionEN English Description Plant dyed yarns, dyed by Therese Henner Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource RV_CP_03(02) Type The nature or genre of the resource Still Image Description An account of the resource Plant dyed yarns, dyed by Therese Henner Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-06 Spatial Coverage Spatial characteristics of the resource. current,59.6574488,12.890542; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger, Sara Olsson https://culturality.museum/omeka/files/original/21d283392144c6229184837f543dcf71.JPG 70ac1925c757f4393db6dacdd6545dba 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. DescriptionEN English Description Therese Henner at her loom in her studio, weaving. Image in profile view. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource RV_CP_03(01) Type The nature or genre of the resource Still Image Description An account of the resource Therese Henner at her loom in her studio, weaving. Image in profile view. Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-02-16 Spatial Coverage Spatial characteristics of the resource. current,59.6574488,12.890542; 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. Susanne Johansson Sadri Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 728 Context The technique similarly uses the qualities of wool as in fulling woven fabric (in Sweden usually vadmal/wadmal) in mills or manually with or without chemical agents. Field Worker Ulrika Jäger, Kajsa Stinnerbom Economic Threats Insufficient renumeration Technological Threats Use of modern materials Climate Actions Infrastructure Development,Research,Collaboration with other organisations ,Governance management and green policies SDG Decent Work and Economic Growth,Responsible Consumption and Production External ID RV_CP_02 Knowledge Knowledge of wool, and how to handle and process wool - from carding to felting to finished product. Knowledge Transfer It's possible to learn from courses, during textile educations, but also from doing not-on site courses, through video online and litterature - provided that you try it and practice. Practitioners It's a female dominated crafting technique. It's connected to the rural areas where the sheep and wool have been naturally more accessible. Felting is quite popular, and there's also carded wool and coloured wool in hobby stores in Sweden to purchase. Function Haglund has taugh felting for all children in year 4 (ages 10) in the town of Kil. What the children have made will be shown at the Fårfest event in Kil. Felting is a quite common activity at preschools and primary schools, usually the "tovning". Origins and change Haglund explaines that the type of wool carpets that she produces are manufactured and used in Kyrgystan, where the wool mats are used in jurts. Haglund first used her woodenrod jalousie when wet felting which she has now replaced with bubble wrap. She thinks that bubble wrap gives a smoother texture. It's also to be said that Haglund's husband has made her a machine that felts larger objects such as carpets, and is powered by human labour. Organisations FÅReningen, the sheep association (a non-profit association involved in all fields associated with sheep - crafts, husbandry, food) is a given organisation which gathers members who are involved with wool production and interests in quality. In Värmland there's also a folk high school (vocational adult education) with a course called "Ullakademin", the wool academy, which is a local, but of interest nationally, school in the art of felting. Places Fårfesten in Kil: farfestikil.com Artefacts Commonly clothes such as mittens, slippers, hats. Also items for the house such as seating, cushions, carpets. Artefacts of arts and crafts, and applied arts. State of the practice declining Environmental sustainability Haglund produces her products fully in wool. The sheep keeping and wool production of Sweden have been greatly diminished, which has led to a lot of wool that could have been used have been wasted or burnt. To produce in wool nationally and use Swedish wool is a great use of a ethical, non-hazardous, traditional and culturally important fiber that is accessible. Economic sustainability Like written above about the enviormental goals. Place The town or city Skacksjö 13, Östra Ämtervik, Sweden Place Description Östra Ämtervik is characteristic rural Swedish countryside where farmers have used the land for crops and husbandry. It’s a area which have been affected by the close by are of Nobel laureate in literature 1909 Selma Lagerlöf’s mansion Mårbacka situated in the area which have attracted cultural and international visitors, as well as the art museum Alma Löv. Residents of Östra Ämtervik commute for work to towns and citys nearby. The landscape is made up of fields, forests, farms and villas. Many keep livestock for a small scale self-sustainable lifestyle or grow crops or hunt wildlife for meat. Many artisans and culture practitioners live in the area. It's situated between lake Mellanfryken and Visten in Sunne Municipality, which has got about 13.000 inhabitants. Östra Ämtervik is an area of about 800 people. Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Felting Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Felting Type The nature or genre of the resource Intangible Description An account of the resource Felting is a technique of joining fibers together. It can be done dry or wet, and Carina Haglund uses wet felting. In Swedish there are two different words usually used for felting: “tovning” which is most used, or “filtning”. “Tovning” can also be translated to roughly “tangling [of fibers]”, whereas “filtning” has the same etymology root as “felt” in English. Filtning (or felting in English) is done wet, and Haglund expresses that she rather presents what she makes in her studio as filtning, rather than tovning. Creator An entity primarily responsible for making the resource 701 Language A language of the resource Swedish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 413 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Tova- gammal teknik på nytt sätt. Gunilla Paetau Sjöberg Får boken- Anders Jansson, Nina Östman Felt passion- Ellen Bakker, RIchard Assman Att välja färg- Berit Bergström Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 19/06/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Tovning/filtning Spatial Coverage Spatial characteristics of the resource. current,59.729006,13.322161; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/f87d643fdbb18914e76e0ee50d21c2b2.mp4 d197ff15eab2c118c602d111c354792a 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. DescriptionEN English Description Carina Haglund using the felting machine built by her husband Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource RV_CP_02(02) Type The nature or genre of the resource Moving Image Description An account of the resource Carina Haglund using the felting machine built by her husband Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2023-08-11 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. Jonas Haglund Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/RV_CP_02_02_.mp4 https://culturality.museum/omeka/files/original/d0a16161d660d10d0b19178e32aa0abd.mp4 dd6a7ab0a2fbb5244e32750bf5baa679 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. DescriptionEN English Description Carina Haglund in her workshop felting a small wool disk Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource RV_CP_02(01) Type The nature or genre of the resource Moving Image Description An account of the resource Carina Haglund in her workshop felting a small wool disk Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-10 Spatial Coverage Spatial characteristics of the resource. current,59.729006,13.322161; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger https://culturality.museum/omeka/files/original/e2926ac58500d39846606d4a2d6544ab.jpg f5934ed8fa238a2ca6af3f0abc5e659e 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. DescriptionEN English Description Carina Haglund's felting machine Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource RV_CP_02(02) Type The nature or genre of the resource Still Image Description An account of the resource Carina Haglund's felting machine Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-09-25 Spatial Coverage Spatial characteristics of the resource. current,59.729006,13.322161; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. 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. Carina Haglund https://culturality.museum/omeka/files/original/81c49ce540e63d0bd930e73b4c469dbd.JPG b3677de35a4fbfb6c603b66cb5cc7af1 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. DescriptionEN English Description Carina Haglund in her workshop rolling and felting at the table Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource RV_CP_02(01) Type The nature or genre of the resource Still Image Description An account of the resource Carina Haglund in her workshop rolling and felting at the table Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-02-21 Spatial Coverage Spatial characteristics of the resource. current,59.729006,13.322161; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. 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. Susanne Johansson Sadri Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 726 Context There’s the tradition from the same cultural area, apart from other places in Sweden associated with the forested regions, of braiding in birch bark. The braiding of birch also gives the pattern of woven squares which give shape and form to e.g. bowls, baskets, boxes. This expression of form is like that of the clothing with entrelac/näverstickning. Field Worker Ulrika Jäger, Sara Olsson Climate Threats Water pollution,Loss of biodiversity,Invasive species,Deforestation,Deterioration of material Economic Threats Insufficient renumeration,Arduous training Technological Threats Use of modern materials Policy Threats Lack of conservation policy,Threatening regional planning policies,Educational standardisation Globalisation New pastimes,Rapid sociocultural change Weakened Practice Aged practitioners,Diminishing participation,Diminishing youth interest,Halted transmission between generations,Reduced practice Loss Threats Loss of cultural spaces,Loss of knowledge,Loss of cultural significance SDG Responsible Consumption and Production External ID RV_CP_01 Knowledge The practice requre knowledge how to knit, handle yarn and to read and understand pattern. It's a difficult technique to master and is not easily learnt online (forexample Youtube) or other easily accessable places. Inez has written a book with patterns, but it's easiest learnt with a mentor. Knowledge Transfer Inez have had a couple of workshops in Värmland and currently is mentoring crafter and knitter Ulrika Jäger. She's most recently held a workhop in Finnskogen, Lekvattnet, in July of 2024. Inez has been a textile crafts teacher and taught her pupils to knit. Entrelac has been her focus when teaching since she retired. Practitioners Inez have inhereted the knowledge from her grand, grandmother. The tradition seems reserved for the female sphere. Function There are people that wants to learn the practise but there are few bearers of culture and practiotioners. Entrelac is a cultural heritage that communicates it's roots with the culture of forest finns which immigrated to the area during the 17th century. Origins and change The practice seems so have come to Värmland with the forest finns from Finland during the 17th century. Many used for decorating everyday used objects, such as clothes). Organisations Nordiska museet in Stockholm has one artefact with entrelac in their possession. Places The finn forest of Sweden and Norway Artefacts Mostly garments such as knitted mittens and socks State of the practice declining Social sustainability Knitting is a popular activity to meet and partake in socially, for example to meet in knitting cafés, which is inspiering and is a way reduce isolation and lonliness for all ages. Environmental sustainability Inez only uses wool, and uses wool which is produced in Norway. She buys her yarn locally in Sunne. She produced no waste. . Place The town or city Sunne, Värmland, Sweden Place Description Entrelac/näverstickning has associations to the Finn Forest where Inez grew up. This technique was brought over with the forest finns who emigrated to Sweden and current day Norway in the 17th century. The expression of the braided birch bark which shows the culture, also shown in the knitted garments. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Entrelac Type The nature or genre of the resource Intangible Description An account of the resource Entrelac is a knitting technique that is strongly reminicent of woven/braided birch back, which is traditionally made and used in the area. See RV_CP_01(01) Creator An entity primarily responsible for making the resource 695 Language A language of the resource Swedish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 412 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Marias vantar. En bok om näverstickning - vantar, mössor, småslöjd. Inez Assk ISBN9789186699659 Kontstrikk. Ruth Gullbekk Bolstad. ISBN9788291195353 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 19/06/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Näverstickning / Kontsrikk on the Norweigian side of the Finn forest Spatial Coverage Spatial characteristics of the resource. current,59.8376399,13.1230106; Date Modified Date on which the resource was changed. 15/09/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews https://culturality.museum/omeka/files/original/0fa3201a53bcc40a72171142565ca1fc.jpg 6d82c055c971c4e28bb6e3ea7ab7aab3 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. DescriptionEN English Description Inez Assk holding a local and traditional pack basket woven in birch bark using the same design language as entrelac Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource RV_CP_01(01) Type The nature or genre of the resource Still Image Description An account of the resource Inez Assk holding a local and traditional pack basket woven in birch bark using the same design language as entrelac Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-11-21 Spatial Coverage Spatial characteristics of the resource. current,59.8376399,13.1230106; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger, Sara Olsson Intangible Prim Media 722 Context The practice doesnt stand alone, it is a part of the concept that the practitioner excersises in the forge. The practice is part of the interpersonal experience the blacksmith offers to his visitors and groups. Entertainment, jokes, stories and anecdotes are told by the blacksmith are part of the demonstation of making the objects, and building a connection. The practitioner creates objects using the same practice in the lower seasons, without visitors attending, to keep up the stock. Field Worker Agnes Csenki Climate Threats Sea-level rise,Increased rainfall,Deterioration of space Economic Threats Insufficient financial resources,Rapid economic transformation Weakened Practice Diminishing youth interest,Reduced practice Loss Threats Loss of knowledge,Material shortage,Loss of cultural significance SDG Responsible Consumption and Production,Partnerships for the Goals External ID MN_CP_03 Knowledge Both practical and theoretical knowledge is required, and a basic knowledge in metallurgy. Planning, and designing of products, a practical setup in the smithy or workshop is also helping the working process. Forging is a hard physical work, that requires physical strength knowledge of the properties of the material in use (iron, bronze, sopper, other metal), temperatures, tools and how the material reacts during the process. Most of the knowledge is practical. Speed, movements to create the wished form, knowledge of the use of different tools (pliers, hammers, brushes), knowledge of the properties and the effect of different temperatures to the metal to create the desired quality, how the metal will react in different stages of the work. Important to have good safety routines in personal safety and fire safety. Tor-Vegard has his own safety routines that he implies them to the visitors too in the workshop (for example hearing protection). Knowledge Transfer Tor-Vegard learned his skills from Hans Gjertsen, and was a trainee for two years under his supervision between 1987 and 1989. The practice is closely connected to the practitioner (Blacksmith of Sund). Tor-Vegard himself accepts trainees, his latest trainee was his son, who hopefully will carry on with the legacy of the previous practitoners in the Forge in Sund, as the new generation of the Blacksmith of Sund. The practice is well displayed in the workshop for visitors. All in general forging in Norway: It is possible to study forging in official Secondary education. That includes 2 years of theoretical and practical school studies and 2 years of practice at a company. Successful formal education results in a “svennebrev”, an official document, that secures quality and knowledge in the field. Forging course (smikurs); depending on the content and subject can vary form a few hours form several days (occasions). That provides a very basic knowledge of the skills and materials, an gives the possibility to create an object. From a practicing blacksmith who accepts trainees with a will to learn, outside formal education. Practitioners The bearer of the core of the practice is the blacksmith in Sund. Tor-Vegard worked alone in his workshop in the past years and was the soil bearer of the practice. Prior to him, it was Hans Gjertsen who carried and practiced the knowledge. Recently, the third generation of blacksmith, Tor-Vegards son, Hans is the candidate to carry on with the practice. He is a freshly graduated blacksmith. Function The two generations of practitioners built a reputation around the cormorant sculptures, that is well known from Sund. The emblematic form and product is well recognisable. It contribites to the local identity, and many locals follow the practitioner and his work on SoMe. The practice contributes to the local communty to be on the touristic map, and it creates a huge visitor number each year in the small village of Sund. During the touristic season, the practice is a part of a social setting. The practitoner interacts with the visitors during the process of making scultputes in the workshop. The interactions, stories and the multy-sensory experience creates and deepens the interest among visitors, and a will to buy. Origins and change The practice cannot be divided form the practitioner: The Blacksmith of Sund. The origin of the hand forged cormorant dates to the time of the old blacksmith, Hans Gjertsen. He opened his workshop in 1947, but became well known after 1963, when he surprised the Kind of Norway, Olav V. with a hand forged cormorant, sitting on a rounded granite stone from the Lofoten mountains. The cormorant design became known as "Kongeskarv", that we can translate as "King Cormorant". That first known cormorant memorabilia from Lofoten paved the road for Hans Gjertsen to establish the forge as one of the oldest tourist attractions in Lofoten. Tor-Vegard was a trainee 1987-89 and took over the forge in 1989. Hans Gjertsen was relatively active until 2004 and passed away in 2006. Tor-Vegard as the second generation of the blacksmith in Sund changed and adapted the practice to his ways, and to the larger demands, and introduced new products using the same starting point (cormorants in different variations, pinguins). Tor-Vegard uses the mechanical hammers in a different scale and he purchased an new mechanical hammer too. He also stoped forming a crown onto the top of the "King Cormorants" head. The third generation of blacksmith just got introduced and further development is expected in the future. Organisations Fishery Museum in Sund and the Forge in Sund are the closest related to the practice. In Norway, all in general, forging has a long traditon and history. In all fishing villages in Lofoten operated at least one forge at a time. Norwegian Fishing Village Musuem has a forge that disseminates forging, Lofotr Viking Museum is an important hub for different crafts, alongside iron age forging (the smithy unfortunately burned down in 2021, the reconsruction of the forge is still in progress). Forge Association: https://norsksmedforening.wordpress.com/; Hjerleid Håndverksskole https://www.hjerleid.no/no/vg2-smed, blacksmith groups on social media. Places The workshop itself in Sund, that is a part of the Fishery Museum in Sund. Artefacts We can group the artefacts, connected to the practice. Preparing the material: metal cutter. Warming up and forming the metal: coal forge, airing system-blower to keep the fire at a high temperature, hammers, pliers, mechanic hammers, anvil. Polishing the finished product: brushes, polishing machine. Protective wear, as leather apron, leather gloves, protective shoes, glasses, hearing protection. Tor-Vegard wears his glasses, a hat, black top and trousers and a leather apron on top of it. The finished products. Climate Threats Description Sea level rising is a threat in a coalstal community, like Sund. The rising sea level would efeect the toursism, that per today scapes 80-90% of the practitioners income. Several bridges are connecting the islands, the steep mountains are avalanche danger. If the bridges are closed due to weather conditions and the roads close due to avalance, supplies would be hard to get, the visitors cannot reach the forge. Economic Threats Description If the practice is no longer economilcally profitable, it reduces the possibilities of the practitioner to carry on. Sund in Lofoten islands is a remote village. Poor connections make it difficult for visitors to arrie to Lofoten. Weakened Practice Description Without successor, the practice is facing a threat. Loss Threats Description Without the knowledge, materials and the significance, the practice is loosing its basis, that threatens the practice. State of the practice stable Social sustainability The practice contributes to a small fishing village in Lofoten to be significant for visitors, arriving to Lofoten. The practitoner is an active member of the community, and lifts it throughout the practice. Environmental sustainability The practice contributes to enviromental sustainability, with it´s waste management and optimised logistics and material use. Economic sustainability No Place The town or city Sundveien 118, 8384 Sund, Flakstad Municipality, Lofoten Islands, Nordland County, Norway Place Description Sund is a traditional fishing village in the Lofoten Islands. These fishing villages were built on the cod fishery in Winter, and the production of stockfish. Northeast Atlantic Cod migrates from the Barents Sea to the Norwegian coast to spawn and can be found by the coastline of Lofoten from approx. January to April. That period is called the Lofoten-Fishing in Lofoten. Stockfish is unsalted, dried cod-a traditional food, produced by hanging and air-drying cod on wooden racks for 3-4 months. The winter fishery traditionally attracted fishermen from both south and north on the mainland. They were seasonally accommodated in the villages in cabins (rorbu). Stockfish was Norway’s most important commodity, and most of the production was sold to export. These fishing villages in Lofoten were owned by the crown until the late 18th century. Privileges were given to individuals: innkeepers, cargo-vessel owners, fish traders, who built up enough capital could buy them and the land surrounding. That was the start of the landowner system in Lofoten. Landowner or squires had monopoly on trade, land and properties in their villages, they rented out cabins to the travelling fishermen and bought the fish from them. Locals paid in free labour for the plot where their house stood. The forge had an important role in the fishing villages, as the blacksmith produced objects for the landowners, the locals need and served the fisheries needs: tools, equipment, nails, supplies for reparation work and other metal objects. The blacksmith workshop is part of the Fishery Museum in Sund, both are operated by Tor-Vegard Mørkved, the Blacksmith of Sund. Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Hot_and_warm_forging_of_a_bird_form_by_hand,_and_machanical_hammer Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hot and warm forging of a bird form by hand, and machanical hammer Type The nature or genre of the resource Intangible Description An account of the resource Forging is working with iron, and other metals.Warm and hot forming requires a forge to warm up the metals, The hot and warm metals can be formed into shapes with the help of hammers, anvil, pliers and other tools. The different warming, temperatures and cooling methodes give different reults and properties to the finished products. Creator An entity primarily responsible for making the resource 689 Language A language of the resource Norwegian Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 411 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://nordnorge.com/aktiviteter/smeden-i-sund-smir-skarver-pa-stein/ https://eng.handverksinstituttet.no/ https://norsksmedforening.wordpress.com/ Bergland, Håvar: Kunsten å smi: teknikk of tradisjon, Gyldendal yrkesopplæring, 2000 Bergland, Håvar: Knivsmeden : knvimakerarbeid og smiing Pehrson, Sjur Axel: Smedarbeid - vg2 og vg3, Yrkeslitteratur, 2009. Wefring, Christoffer-Gørrissen, Johan : Konstruksjons- og Verktøystål. Anvendelse og varmebehandling. Oslo, 1971 Norén, Karl-Gunnar-Enander, Lars: Nya järnsmidesboken. Nielsen Norén Förlag, 2008. Silje Sandø Rullestad:Den norrøne jernaldersmeden i tekst og kontekst Masteroppgave i arkeologi IAKH Det humanistiske fakultet Universitetet i Oslo Vår 2007 https://www.nb.no/items/8a8865bf9110dbe9f467b0267d2e3b9d?page=7&searchText=%22tor-vegard%20m%C3%B8rkved%22 https://www.nb.no/items/61c68e36aa516c4aa9cca0c97e99d4fa?page=3&searchText=kongeskarven https://www.nb.no/items/c0240c5d62c4528b227147d06f3d68ba?page=17&searchText=%22tor-vegard%20m%C3%B8rkved%22 https://www.nb.no/items/0b1664793a4dc5032499662692b054bc?page=0&searchText=%22kong%20olav%20V%22 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 19/06/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Varm smiinig av fygel med hånd,og mekanisk hammer Spatial Coverage Spatial characteristics of the resource. current,68.004948,13.207371; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/e685a7d89affea1516ea0e035b8e21c2.mp4 c5a029b8d7f576cc33a51a1978177c2a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Intangible:Hot and warm forging of a bird form by hand, and machanical hammer Identifier An unambiguous reference to the resource within a given context 725 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. DescriptionEN English Description Tor-Vegard Mørkved demonstrates how he creates a bird figure by using hand hammers and mechanical hammers Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MN_CP_03(01) Type The nature or genre of the resource Moving Image Description An account of the resource Tor-Vegard Mørkved demonstrates how he creates a bird figure by using hand hammers and mechanical hammers Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-29 Spatial Coverage Spatial characteristics of the resource. current,68.0050057898097,13.2073345266891; 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. Agnes Csenki https://culturality.museum/omeka/files/original/c3e7bd71d27ebd9f1fbaa6c4789bb384.jpg cf357aeacd8dec5a83a4ef92ba39fb4d 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. DescriptionEN English Description Tor-Vegard Mørkved holding a hot bird formed steel with pliers Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MN_CP_03(02) Type The nature or genre of the resource Still Image Description An account of the resource Tor-Vegard Mørkved holding a hot bird formed steel with pliers Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-29 Spatial Coverage Spatial characteristics of the resource. current,68.0050218626983,13.2073023401822; 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. Agnes Csenki https://culturality.museum/omeka/files/original/123d7f31cb149bc0492e1fe85f65db57.jpg 79b8f50c84f2e72649efc0dd43b385f7 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. DescriptionEN English Description Tor-Vegard Mørkved demonstrates how he creates a bird figure by using hand hammer Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MN_CP_03(01) Type The nature or genre of the resource Still Image Description An account of the resource Tor-Vegard Mørkved demonstrates how he creates a bird figure by using hand hammer Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-29 Spatial Coverage Spatial characteristics of the resource. current,68.0050218626983,13.2073023401822; 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. Agnes Csenki Intangible Prim Media 720 Field Worker Elisabeth Rosa Brusin, Ole Andreas Sagmo, Rebeca Franco Valle Climate Threats Water pollution,Loss of biodiversity,Invasive species,Coastal erosion,Sea-level rise,Increased rainfall,Deterioration of material,Deterioration of space Economic Threats Rapid economic transformation Technological Threats Industrial production,Surge of new technologies Policy Threats Lack of conservation policy,Educational standardisation Conflicts Human encroachment on boundaries Demographic Threats Rural-urban migration Decontextualization Touristification,Misappropriation Globalisation New pastimes,Rapid sociocultural change Weakened Practice Aged practitioners,Diminishing participation,Halted transmission between generations,Reduced practice Loss Threats Loss of cultural spaces,Loss of knowledge,Material shortage,Loss of cultural significance Climate Actions Research,Community Engagement,Collaboration with other organisations SDG Decent Work and Economic Growth,Industry Innovation and Infrastructure,Reduced Inequalities,Sustainable Cities and Communities,Responsible Consumption and Production,Climate Action,Life On Land External ID MN_CP_02 Knowledge Knowledge of different types of wool, their different textures, and their applications to different kinds of clothing. Different knitting techniques and design patterns. Implementation of machine knitting techniques in the production line. In Lofoten Wool, the production of garment is divided into two practices: hand made knitting and machine knitting. Handmade knitting is carried out by skilled ladies who knit from home. The knitters are located in whole Northern Norway, and are coordinated by one of Ragnhild's co-workers, Nora. Machine knitting is carried out with the 3D zero waste knitting technology, which is a knitting practice that has been implemented by Lofoten Wool in order to offer more affordable, but still high-quality, garments. The garments made with this technique are machined knitted by partner companies in Tingvoll (Tingvoll Ull?) and Sykkylven (Krivi?), about 700 km southern Lofoten. The 3D zero waste knitting practice knits a sweater in 40 minutes, and reduces the yarn waste by using only the yarn needed for the production of the garment. The practitioner weaves and knits some of the garments herself, as well as designs new models and patterns with the collaboration of responsible for the quality check of the garments Knowledge Transfer There are schools for learning traditional fiber and textile work. Higher education in fashion design. Lugger (shoes for walking in the snow, in the dry winters. old woolen parts and then they would knit the shoes). Snow, shoes. Practitioners Current practitioners of the office: traditional textile workers, and employees responsible for coordination and administrative work. They can be learnt by choosing to work in that particular work. There is general gender differences that rely on longer cultural undercurrents (ie. wool textile workers are generally woman). Lofoten wool Hand-made sweaters relies on the work of knitters located in Northern Norway, that produce the sweaters for the company. The knitter may have school education, or practice-base knowledge to produce the sweaters. Current practitioners of machine knitted garments: partner companies in Tingvoll and Sykkylven (Norway). Function Besides preserving the sense of belonging to a long-term domestic tradition, it opens the gates to thinking about fiber choices, local production and slow-fashion as gatheways to the sustainable fashion industry. Tourists engage in this sustainable industry by choosing locally produced raw materials and products that support the local primary sector, but also acquire a durable piece of clothing made in ways that respect the local nature and culture. Origins and change The current practices are not directly tied to old traditions, but they aim to recover, maintain and enhance the former domestic textile production. Knitwear is known in Scandinavia since the Middle Ages, and has a long tradition in domestic production until recent times. With the arrival of regulated public education to Norway, schools of offices also took up textile learning traditions, and offered them as professional education, while domestic hobby craft was kept in the families. However, the learning of hand-made crafting educations has been diminishing during the past decades, where fast-fashion industry has slowly been taking over consumer needs. Hand-made knitwear survives today partially as a hobby craft, and through revival initiatives. The connections of the craft with the land in Lofoten wool however, permeate much deeper than the hobby stores, investing in local ancient sheep breeds to produce fashionable items for tourist, naturally bridging between the primary and quaternary sectors with their textile (sweater) productions. Organisations Lofotr Viking Museum, the slaughtery, the organizations Norske Kunsthandverkerer and Norske Biledkunstnerer, Småbrukerlager and Bondelaget, and Husflidlaget. Places Local husflidslaget, factories in Ålesund area (Tingvoll and Sykkylven). Artefacts Different types of knitting needles, 3D knitting machines, industrial loom, yarn unwinder, pots and utensils for dying. Climate Threats Description Water pollution as a result of industrial production. Loss of Biodiversity: there are few sheep farms left in Lofoten. Invasive species come with streams of imported products, vacations abroad and mass tourism. As an island, coastal erosion and rise of sea level may affect the place. Increased rainfall modifies the flora and the naturall cicles on which fodder for the sheep is produced. Economic Threats Description Raw material production is being increasingly outsourced, away from the country. Rural road infrastructure in the islands with few options of public transport Technological Threats Description Indrustrial production has to be used to make the business sustainable. Surge of new technologies to improve the machine knitted production. Conflicts Description The increasing pressure of new inhabitants on the area and vacation houses creates conflicts with the use of pastures for the sheep. Younger generations are moving away from Lofoten/Northern Norway creating a a lack of generational turnover when it comes to learning and carrying out textile traditional handicraft. Decontextualization Description Mass tourism demands more and faster production of garments to be sold. Traditional weaving patterns are appropiated by fast fashion industries. Globalisation Description Craft hobbies with wool have been reduced in the past decades. At the same time, industrial production of clothes and fast fashion produced in other countries, with more affordable products, makes the products less attractive. Weakened Practice Description Knitting is a popular hobby in Norway. However, there is a steady decrease of textile production in Norway in favor of relocation to countries where production is cheaper. Loss Threats Description With the loss of traditions linked to traditional manners of processing the wool, also the old tool usage has been lost to big extends. Oral traditions preserved are very few, since the founder of the project Lofoten wool is not a local herself. State of the practice thriving Social sustainability It creates direct local employment for people hired for their skills. This helps against rural exodus, nurturing the local community development. Environmental sustainability Sheep farming has very little impact over the local landscape. It helps preserving the landscape too. There is very waste generated during thr process of obtaining the wool. The energy employed is electric. The materials are sources locally, but the wool preparation has to be outsourced from another region, since there is no local installations that offer this service and the production center is not big enough. Economic sustainability It diversifies the production of the region, offering locally produced textiles using local raw materials. This also benefits the local sheep farmers, that find a use for the sheep wool that would otherwise go to waste. Place The town or city Stamsund, Lofoten, Norland Place Description Lofoten wool is situated in the proximity of the town of Stamsund. The town belongs to the municipality of Vestvågøy, in the Lofoten Archipelago and by 2023 counts 1.104 inhabitants. The town is one of the largest fishing towns in Lofoten, and an important fishing harbour. The fishing town was established in 1983 by JM Johansen, and today houses one of the largest fish processing plants of Lofoten, a Tran refinery, and its own shipping company. Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Knitting_and_weaving_practices Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Knitting and weaving practices Type The nature or genre of the resource Intangible Description An account of the resource The know-how about curating, harvesting and selecting the best parts of the sheep wool and different uses according to its natural properties: socks, sweaters, woven fabrics and felted wools. Knitting has been a practiced traditionally carried out at home by women. Spinning, knitting and weaving was common knowledge un homes up until 100 years ago, when industrial production begun to take over home-made textiles. Knitting culture has survived in Lofoten to greater extends than in other European countries, and traditional pattern and techniques are still known. Every piece of clothing, being socks, sweaters, mittens or hats, requiere speceific knowledge about stitch density, patterning and wool texture. When industrial dyes were not widely available, local natural plants and likens would do the coloring. The knowledge about plant use was mostly orally transmitted for generations. Currently, some of said traditions can be found in crafting manuals and school education, all of which is used to produce unique sweaters in Lofoten wool. Creator An entity primarily responsible for making the resource 687 Language A language of the resource Norwegian Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 410 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://lofoten-wool.no/en/pages/menneskene https://lofoten-wool.no/en https://www.nibio.no/prosjekter/amazing-grazing-baerekraftig-kjott-og-ull-fra-sau-som-beiter-i-norsk-utmark?locationfilter=true https://www.smabrukarlaget.no/aktuelt/bonde-og-smaabruker/, https://www.norskekunsthandverkere.no/kunstnerregister/ragnhild-lie https://husflid.no/ https://www.utdanningsforbundet.no/ https://www.bondelaget.no/ Esther Haukeland, Innføring til plantefarging. Cappellen, 1982. Animalia: Norwegian wool Standard. https://www.animalia.no/no/Dyr/ull-og-ullklassifisering/norsk-ullstandard/ Beder, Nicolina J., Seyður Ull Tøting. SPF. Sprotin, 2010. Flååt, Inger. Votter i Namdalen. Nauma Husflidslag, 2010. Grimstad, Ingun K. and Sårdal, Tone t. Norsk Strikkehistorie. Vormedal Forlag. 2018. Grimstad, Ingun K. and Sårdal, Tone T. Ren ull. Aschehoug, 2013. Hrútaskrá. https://www.rml.is/is/kynbotastarf/saudfjarraekt/hrutaskra Joensen, Robert. Seyðabókin. SPF. Sprotin, 2015. Johnston, Elizabeth and Juuhl, Marta K. The warp-weighted loom. Kljásteinavefstadurinn: kljásteinar klingja. Oppstadveven: klingande steinar. Skald, 2016. Kjellmo, Ellen. Båtrya i gammel og nyt tid. Orkana, 1996. Sundbø, Annemor. Usynlege Trådar i Strikkekunsten. Samlaget, 2006. https://www.norskebilledkunstnere.no/ Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 19/06/2025 Spatial Coverage Spatial characteristics of the resource. current,68.1490556685704,13.7622515654953; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/3726c0a3628e272c8ac32f26fa019157.mp4 74a59cc4f4db2ecf36528feae0dc732c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Intangible:Knitting and weaving practices Identifier An unambiguous reference to the resource within a given context 721 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. DescriptionEN English Description Ragnhild Lie shows how to knit with circular needles. Two threads (white and brown) are used to create a pattern. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MN_CP_02(01) Type The nature or genre of the resource Moving Image Description An account of the resource Ragnhild Lie shows how to knit with circular needles. Two threads (white and brown) are used to create a pattern. Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-05 Spatial Coverage Spatial characteristics of the resource. current,68.1490844508489,13.7622262690289; 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. Elisabeth Rosa Brusin, Rebeca Franco Valle Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 716 Context Selecting the wool by the farmers requires knowledge: the belly wool and thighs must be taken away: it is usually damaged. The wool in the living sheep must be kept clean.. Ranghild speculates that probably in the past some could have kept some heads just for wool, probably from castrated rams. Sorting the fleece must be done very carefully: neck wool is more delicate, and better for socks.The belly wool is called buk. Lår: tight wool - Fell: fleece - it can also refer to a duvet. - vegetabiler - straws in the wool that you cant put in the spinning mill. "Det er mye rusk i ulla." to express this excess vegetation. If the sheep lie in the side they are in trouble they lie in "øbelta", and the sheep can be in mortal danger./ syner av: they stop breastfeeding. Fjøskåpe - to go in the farm milking the cows. Sheep are know to be prepared also to detect predators and they organize themselves to do watchings, or to know when there is an emminent danger (for example, an avalach). Field Worker Elisabeth Rosa Brusin, Ole Andreas Sagmo, Rebeca Franco Valle Climate Threats Loss of biodiversity,Invasive species,Coastal erosion,Sea-level rise,Increased rainfall,Deterioration of space Economic Threats Rapid economic transformation Technological Threats Industrial production Policy Threats Lack of conservation policy Conflicts Human encroachment on boundaries Demographic Threats Rural-urban migration Decontextualization Touristification,Misappropriation Globalisation New pastimes,Rapid sociocultural change Weakened Practice Aged practitioners,Diminishing participation,Halted transmission between generations,Reduced practice Loss Threats Loss of cultural spaces,Loss of knowledge,Material shortage,Loss of cultural significance Climate Actions Research,Community Engagement,Collaboration with other organisations SDG Decent Work and Economic Growth,Industry Innovation and Infrastructure,Reduced Inequalities,Sustainable Cities and Communities,Responsible Consumption and Production,Climate Action,Life On Land External ID MN_CP_01 Knowledge Knowledge about different sheep breeds from Norway, their history and the different textures of their wool, and their applications to different kinds of clothing. Sheep farming and animal care and welfare are also taken into consideration in the process. It also requires knowledge about the stages of preparation the wool must go through before it is ready for shaping into yarn or unspun wool. Knowledge Transfer There are schools for learning traditional fiber and textile work. Sheep farming is an office that can also be learned, but entails practice throughout years. Keeping traditions related to sheep herding in the Lofoten islands rely much on the knowledge transmitted during generations between the farmers. Practitioners Current practitioners of the office: traditional textile workers, and farmers. They can be learnt by choosing to work in that particular work. There is general gender differences that rely on longer cultural undercurrents (ie. wool textile workers are generally woman). Function Besides preserving the sense of belonging to a long-term domestic tradition, it opens the gates to thinking about fiber choices, local production and slow-fashion as gatheways to sustainable fashion industry. Tourist engage in this sustainable indrustry by choosing locally produced raw materials and products that support the local primary sector, Origins and change The current practices are not directly tied to ancetstral traditions, but the can be considere traditional. They aim to recover, mantain and enhance the former domestic textile production. The use of old breeds of sheep adapted to the climate and landscape of the area sheds a different kind of wool, more ruogh that the one obtained from breeds adapted to industrial productions such as the merino sheep. Shearig is still done manually by professional hands, but the wool is washed and combed with modern machines. Organisations Lofotr Viking Museum, the slaughtery, the organizations Norske Kunsthandverkerer and Norske Biledkunstnerer, Småbrukerlager and Bondelaget, and Husflidlaget. Lofoten wool also offers an opportunity for elderly woman and persons in retirement, or those who simply would like to have extra income. They are organized from the workshop. Places The Lofotr Viking Museum is also a heritage site that preserves old sheep breeds and showcases textile traditions from the iron age. Vestvågøy Husflidlaget also offers Lofoten wool workshops. Artefacts The machinery is outsourced. But this practice highlights the link between the obtention of local raw (wool) and a primary product (yarn and processed wool fabric). In the worskhops, yarn comming from the wool mill is winded with a manual yarn winder into skeins. The yarn winder is a tradtional domestic textile tool, that keeps being used in Lofoten wool. From it, sweaters, mittens, curtains, pillow cases, shalls, hats, fabric are made. Some of the objects follow traditional designs and knitting patterns, such as the sweater Islender (MN_AR_03) or the fisheman mittens (MN_AR_04). Climate Threats Description Loss of Biodiversity: there are few sheep farms left in Lofoten. Invasive species come with streams of imported products, vacations abroad and mass tourism. As an island, coastal erosion and rise of sea level may affect the place. Increased rainfall modifies the flora and the naturall cicles on which fodder for the sheep is produced. Economic Threats Description Raw material production is being increasingly outsourced, away from the country. Rural road infrastructure in the islands with few options of public transport Technological Threats Description Indrustrial production has to be used to make the business sustainable. Conflicts Description The increasing preasure of new inhabitants on the area and vacation houses creates conflicts with the use of pastures for the ship Decontextualization Description Mass tourism demands more infrastructure for tourism, in the detriment of the farmland economy. Traditional weaving patterns are appropiated by fast fashion industries. Globalisation Description Craft hobbies with wool have been reduced in the past decades. At the same time, industrial production of clothes and fast fashion produced in other countries, with more affordable products, makes the products less atractive. Weakened Practice Description Less people works in sheep farming. The wool is harder to obtain. It is very time-demanding work. Loss Threats Description With the loss of traditions linked to traditional manners of processing the wool, also the old tool usage has been lost to big extends. Oral traditions preserved are very few, since the founder of the project Lofoten wool is not a local herself. State of the practice declining Social sustainability It creates direct local employment for people hired for their skills. This helps against rural exodus, nurturing the local community development. Environmental sustainability Sheep farming has very little impact over the local landscape. It helps preserving the landscape too. There is very waste generated during thr process of obtaining the wool. The energy employed is electric. The raw materials are sourced locally, but the wool preparation has to be outsourced from another region, since there is no local installations that offer this service and the production center is not big enough. Economic sustainability It diversifies the production of the region, offering locally produced textiles using local raw materials. This also benefits the local sheep farmers, that find a use for the sheep wool that would otherwise go to waste. Natural dyes produce little toxic waste. Place The town or city Stamsund, Lofoten, Norland Place Description Lofoten wool is situated in the proximity of the town of Stamsund. The town belongs to the municipality of Vestvågøy, in the Lofoten Archipelago and by 2023 counts 1.104 inhabitants. The town is one of the largest fishing towns in Lofoten, and an important fishing harbour. The fishing town was established in 1983 by JM Johansen, and today houses one of the largest fish processing plants of Lofoten, a Tran refinery, and its own shipping company. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wool fiber processing Type The nature or genre of the resource Intangible Description An account of the resource The know-how about curating, harvesting and selecting the best parts of the sheep wool and different uses according to its natural properties: socks, sweaters, woven fabrics and felted wools. Different breeds will shed different wool textures. Banking on traditional knowledge, finding the best kinds of wool from different sheep breeds and applying it to modern uses comes from cycles of investigation and practice developed throughout the decades. The yarn is colored using natural dyes many of which have been used for centuries. Language A language of the resource Norwegian Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 409 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://lofoten-wool.no/en https://www.nibio.no/prosjekter/amazing-grazing-baerekraftig-kjott-og-ull-fra-sau-som-beiter-i-norsk-utmark?locationfilter=true https://www.smabrukarlaget.no/aktuelt/bonde-og-smaabruker/, https://www.norskekunsthandverkere.no/kunstnerregister/ragnhild-lie https://husflid.no/ https://www.utdanningsforbundet.no/ https://www.bondelaget.no/ Esther Haukeland, Innføring til plantefarging. Cappellen, 1982. Animalia: Norwegian wool Standard. https://www.animalia.no/no/Dyr/ull-og-ullklassifisering/norsk-ullstandard/ Beder, Nicolina J., Seyður Ull Tøting. SPF. Sprotin, 2010. Flååt, Inger. Votter i Namdalen. Nauma Husflidslag, 2010. Grimstad, Ingun K. and Sårdal, Tone t. Norsk Strikkehistorie. Vormedal Forlag. 2018. Grimstad, Ingun K. and Sårdal, Tone T. Ren ull. Aschehoug, 2013. Hrútaskrá. https://www.rml.is/is/kynbotastarf/saudfjarraekt/hrutaskra Joensen, Robert. Seyðabókin. SPF. Sprotin, 2015. Johnston, Elizabeth and Juuhl, Marta K. The warp-weighted loom. Kljásteinavefstadurinn: kljásteinar klingja. Oppstadveven: klingande steinar. Skald, 2016. Kjellmo, Ellen. Båtrya i gammel og nyt tid. Orkana, 1996. Sundbø, Annemor. Usynlege Trådar i Strikkekunsten. Samlaget, 2006. https://www.norskebilledkunstnere.no/ Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 19/06/2025 Spatial Coverage Spatial characteristics of the resource. current,68.1490556685704,13.7622515654953; Creator An entity primarily responsible for making the resource 687 Date Modified Date on which the resource was changed. 04/07/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews https://culturality.museum/omeka/files/original/970347ce5be09056a4d807120b683a75.mp4 a5e9bcdccc218314f65442e98f34885c 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. DescriptionEN English Description Ranghild Lie explains about sheep types and their wool, and the stages of preparation of the raw material Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MN_CP_01(03) Type The nature or genre of the resource Moving Image Description An account of the resource Ranghild Lie explains about sheep types and their wool, and the stages of preparation of the raw material Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-05 Spatial Coverage Spatial characteristics of the resource. current,68.1490844508489,13.7622262690289; 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. Elisabeth Rosa Brusin, Rebeca Franco Valle Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/MN_CP_01_03_.mp4 https://culturality.museum/omeka/files/original/62cb0535912f72b1dac2980615e08477.mp4 45f48e96613b9debb6e8596cd56c2026 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. DescriptionEN English Description Ranghild Lie explains about sheep types and their wool, and the stages of preparation of the raw material Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MN_CP_01(02) Type The nature or genre of the resource Moving Image Description An account of the resource Ranghild Lie explains about sheep types and their wool, and the stages of preparation of the raw material Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-05 Spatial Coverage Spatial characteristics of the resource. current,68.1490844508489,13.7622262690289; 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. Elisabeth Rosa Brusin, Rebeca Franco Valle Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/MN_CP_01_02_.mp4 https://culturality.museum/omeka/files/original/c542989ea46322b4b846f69f7716b3a9.mp4 e04e18dda4d9c3c87b72e0fdf7ed34ef 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. DescriptionEN English Description Ranghild Lie explains about sheep types and their wool, and the stages of preparation of the raw material Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MN_CP_01(01) Type The nature or genre of the resource Moving Image Description An account of the resource Ranghild Lie explains about sheep types and their wool, and the stages of preparation of the raw material Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-05 Spatial Coverage Spatial characteristics of the resource. current,68.1490844508489,13.7622262690289; 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. Elisabeth Rosa Brusin, Rebeca Franco Valle Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/MN_CP_01_01_.mp4 https://culturality.museum/omeka/files/original/d814c85bc58a39d71b64817a0ad1fb7e.mp4 cf58b6ac0baffb53518a6d9324deada2 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 LAPONTE_CP_02(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 Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-07 Spatial Coverage Spatial characteristics of the resource. current,43.480178,-5.43423190753304; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/LAPONTE_CP_02_04_.mp4 https://culturality.museum/omeka/files/original/ccd751808af66d29d2b2140fcea1e25e.mp4 67d390c4ec488c1ba99b5ef0a8d8398b 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 LAPONTE_CP_02(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 Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-07 Spatial Coverage Spatial characteristics of the resource. current,43.480178,-5.43423190753304; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/LAPONTE_CP_02_03_.mp4 https://culturality.museum/omeka/files/original/8dfc53cc5b55af97e130d123613c0c2b.mp4 2990964b0e75ab5df37a3cff89b03bc9 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 LAPONTE_CP_02(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 Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-07 Spatial Coverage Spatial characteristics of the resource. current,43.480178,-5.43423190753304; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/LAPONTE_CP_02_02_.mp4 https://culturality.museum/omeka/files/original/168b6271d11ceb5984d63904e82d8550.mp4 aaa52cb0d3c34afd29cd5655fe6f14dc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Intangible:Jet culture Identifier An unambiguous reference to the resource within a given context 710 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 LAPONTE_CP_02(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 Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-07 Spatial Coverage Spatial characteristics of the resource. current,43.480178,-5.43423190753304; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible State of the practice thriving Field Worker Carmen Pérez Maestro External ID LAPONTE_CP_02 Place The town or city Villaviciosa and Gijón area, Asturias, Spain Place Description Jet is the most well-known and widespread gemstone found in Asturias. The area of Villaviciosa and Gijón is the epicenter of both its extraction and its transformation into jewelry pieces.The layers of jet are located in the highest sections of the Upper Jurassic, from the Kimmeridgian age, consisting of alternating sandstones, marls, and dark silty clays. It originated from woody trunks that were carried and deposited between the sandstones of the well-known Lastres Formation, although it is also found in the so-called La Ñora and Vega formations, in a transitional sedimentary environment.There are precedents for the recognition of the existence and quality of Asturias' jet in foreign scientific publications as early as the 19th century. CINE only true Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jet culture Type The nature or genre of the resource Intangible Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 408 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 18/06/2025 Date Modified Date on which the resource was changed. 15/09/2025 Description An account of the resource The presence of high-quality jet deposits in Asturias enabled, since ancient times, its mining and artisanal use, giving rise to a culture centered around the properties of this unique mineral. Its believed protective nature generated strong demand for handcrafted creations, which were sold mainly outside the region, both in traditional forms like amulets and in more unique versions, as various pieces of jewelry Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Cultura del azabache Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context The traditional Asturian women's attire includes necklaces and earrings made of jet. Field Worker Carmen Pérez Maestro Technological Threats Surge of new technologies Weakened Practice Reduced practice Loss Threats Loss of knowledge,Material shortage,Loss of cultural significance SDG Gender Equality,Decent Work and Economic Growth External ID LAPONTE_CP_02 Knowledge Firstly, the knowledge of jet extraction, which was carried out by men until the mid-20th century. The raw pieces were extracted seasonally by the farmers themselves. The mines, which were of little significance, mainly consisted of small linear galleries following the mineral veins. Currently, jet mining is not permitted, and contemporary artisans work with the remnants of these extractions that remained on the surface. Secondly, the skill of stone carving, which was traditionally done with a chisel and is now performed with precision mechanical tools. Knowledge Transfer The lack of raw material makes the transmission of the craft easy and abundant. In rare cases, the artisan delegates the learning of all their techniques to one person, as the profession is in danger of extinction, despite having been recently declared a Cultural Heritage Asset in Asturias.There are practically no active jet artisans who are familiar with traditional carving methods using hand tools. Mechanical systems have been introduced, which are not deeply rooted in the tradition, leading to a delicate situation in this regard. Practitioners In the past, only men were involved in jet work, although it seems that it was the women who did the final touches on the pieces. Today, the majority of those engaged in this activity are women, and most of them combine jet work with other materials such as silver, also applying jewelry-making techniques. Function Currently, the people of the region take pride in the existence of this artisanal tradition, despite the disagreements between the two existing associations. Jet continues to be seen as a protective element, which means that the pieces made from this material are valued not only for their beauty but also for their symbolic significance. Origins and change In Asturias, jet has a long tradition. The oldest pieces are documented in the Cave of Las Caldas, dating back 19,000 years to the Solutrean period. A jet bead was found in the tomb of Monte Areo (tomb XV), part of a burial set from the 5th millennium BC. Jet use is also documented in Camoca and Moriyón, near the Villaviciosa estuary, as well as in the Roman-era town of Veranes.Traditionally used as a symbol of protection and good fortune, jet was commonly worn by pilgrims on the Camino de Santiago from the 11th century onward. Oviedo, a key stop on the Camino Primitivo, became an important center for jet trade and craftsmanship. By the 14th century, Asturian workshops gained fame for the quality of their carvings.After the decline of the Camino de Santiago, jet gained a resurgence due to a historical event. Following the death of Prince Albert in 1861, mourning became fashionable in Victorian society as a symbol of support for Queen Victoria. This was not a passing trend, as she wore mourning attire for the rest of her life and made extravagant use of jet jewelry, which was ideal for this occasion.Today, jet is primarily used in jewelry, and one object that has continued from the past is the "mano" or "figa," whose protective symbolism still endures. Organisations In 1999, "Acebache" was created in Villaviciosa, an association aimed at developing the jet tradition of Asturias. This collective includes not only artisans with their respective workshops, but also experts. In 2017, this association split, leading to the creation of "Azabache Jurásico de Villaviciosa," also composed of artisans and experts in this heritage. Places Monographic Jet Fairs in Asturias:Ribadesella and Tazones host specialized fairs dedicated to Asturian jet, where artisans, experts, and enthusiasts gather to showcase and celebrate this traditional craft. These events highlight the historical and cultural significance of jet, featuring exhibitions, demonstrations, and handcrafted jewelry.The Azabache Fair of Oviedo is an other event that celebrates the tradition and craftsmanship of Asturian jet. Held in the historic center of the city, it brings together artisans, jewelers, and experts who showcase their handcrafted pieces Artefacts Figa or Jet Hand: Protective amulet against the evil eye and negative energies. Rosaries and Beads: Used in religious devotion, combining jet with other noble materials. Earrings and Pendants: Traditional and contemporary designs in which jet is set in silver. Brooches and Cameos: Finely carved pieces, especially popular during the Victorian period. Technological Threats Description Traditional carving techniques are no longer used; they have been replaced by mechanical methods. Weakened Practice Description There is no generational continuity in learning the craft Loss Threats Description The prohibition of raw material extraction has led to very limited supplies. This has also resulted in the inclusion of other minerals, such as those from Turkey, which are not authentic Asturian Jurassic jet. Safeguarding activities Both associations engage in promotional activities to spread awareness of Asturian jet craftsmanship, including organizing events, workshops, and demonstrations. Additionally, jet sales fairs are held, where artisans showcase and sell their handcrafted jet pieces, helping to preserve and promote this traditional craft. State of the practice declining Social sustainability Gender Equality: Traditionally, jet craftsmanship was dominated by men, but today, many women are involved in the craft, often combining it with other materials like silver. This shift has provided women with opportunities for economic independence, skill development, and recognition as artisans.Community Development: The jet industry has supported local economies in Asturias, particularly in regions like Villaviciosa and Gijón. Craftsmanship creates jobs and stimulates local commerce, with fairs and exhibitions drawing attention to the region. Environmental sustainability Use of Natural, Locally Sourced Materials: Jet is a natural material that has been traditionally sourced from the region of Asturias, specifically from the Jurassic period deposits. The use of locally sourced jet minimizes the environmental impact associated with transportation and supports local geology and heritage. As it is a non-renewable resource, its extraction has been regulated to ensure that it does not overly deplete local resources.Sustainable Craftsmanship Practices: The methods used by artisans today, although increasingly mechanical, often rely on precision tools and small-scale, localized production, as opposed to mass industrial production. Energy Efficiency: Traditional jet carving methods required hand tools, while modern mechanical tools (e.g., Dremels or carbide tools) are more energy-efficient than heavy industrial machinery. Though not fully sustainable in energy use, these tools consume far less energy than large-scale manufacturing processes. Economic sustainability The Azabache fairs and markets provide artisans with opportunities to showcase and sell their work, both locally and internationally. These events attract tourists and buyers interested in traditional craftsmanship, which expands market access for local artisans. Artisans working with jet often combine it with other materials such as silver or gold to create jewelry, which broadens their income potential. For example, artisans who produce traditional jet jewelry can also expand into contemporary designs to cater to different markets, diversifying their income sources. Place The town or city Villaviciosa and Gijón area, Asturias, Spain Place Description Jet is the most well-known and widespread gemstone found in Asturias. The area of Villaviciosa and Gijón is the epicenter of both its extraction and its transformation into jewelry pieces.The layers of jet are located in the highest sections of the Upper Jurassic, from the Kimmeridgian age, consisting of alternating sandstones, marls, and dark silty clays. It originated from woody trunks that were carried and deposited between the sandstones of the well-known Lastres Formation, although it is also found in the so-called La Ñora and Vega formations, in a transitional sedimentary environment.There are precedents for the recognition of the existence and quality of Asturias' jet in foreign scientific publications as early as the 19th century. Prim Media 712 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jet culture Type The nature or genre of the resource Intangible Description An account of the resource The presence of high-quality jet deposits in Asturias enabled, since ancient times, its mining and artisanal use, giving rise to a culture centered around the properties of this unique mineral. Its believed protective nature generated strong demand for handcrafted creations, which were sold mainly outside the region, both in traditional forms like amulets and in more unique versions, as various pieces of jewelry Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 407 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://www.youtube.com/watch?v=X7CzYi6DnR0 Campón, E., Fernández, C. J., & Solans, J. (1978). El azabache de los yacimientos de Oles (Asturias). Trabajos de Geología, (10), 161-167. Vevia, M. V. B. (2024). El azabache asturiano y la reina Victoria. ArqueoTimes, (9), 36-38. Mata, Á. F. (2005). Iconografía jacobea en azabache. Los Caminos de Santiago. Arte, Historia y Literatura, 169-212. Menéndez Menéndez, A. (2021, January). Aproximación al pasado, presente y futuro de la industria azabachera, un patrimonio cultural, material e inmaterial, en vías de extinción. In I Simposio anual de Patrimonio Natural y Cultural ICOMOS España (pp. 479-492). Editorial Universitat Politècnica de València. Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 18/06/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Cultura del azabache Date Modified Date on which the resource was changed. 18/06/2025 Creator An entity primarily responsible for making the resource 683 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context One of the artisans recounts that there are ballads dedicated to the trapadoiro, which is one of the tools used to shape the mouths of the vessels. Vessels are crafted in connection with other traditional cultural practices of Asturias, such as cheese-making or cider culture. Field Worker Carmen Pérez Maestro Climate Threats Deterioration of space Conflicts Intolerance,Disrespect Demographic Threats Rural-urban migration,Population Influx Weakened Practice Diminishing participation,Diminishing youth interest,Reduced practice Loss Threats Loss of cultural spaces SDG Zero Hunger,Good Health and Wellbeing,Decent Work and Economic Growth,Responsible Consumption and Production External ID LAPONTE_CP_01 Knowledge Those corresponding to the ceramic creation. Knowledge of clay extraction sites. Treatment of clay, modelling and potter's wheel. Surface treatment and firing of pottery. Knowledge Transfer Nowadays, only one potter's workshop remains in Faro, that of José Manuel Vega ‘Selito’, the last of a potter's lineage that dates back to the Middle Ages. For years "Selito" has had an apprentice, Orlando Moran, who today has the skills to make this ceramic tradition. Since 2022, a potter, Verónica Rodriguez, from another part of Asturias, has moved to Faro. Although her knowledge of pottery comes from the ceramic tradition of Llamas del Mouro, she has learned to make traditional Faro's pottery. The potter who is currently passing on the knowledge about the manufacture of traditional Faro´s pottery is Orlando Moran, who works in an arts and crafts school. Practitioners José Manuel Vega 'Selito' was active until the year 2024.Currently the artisans are Fernando Morán and Verónica Rodriguez, Orlando is the heir to the knowledge of the last potter "Selito," who also passes on this legacy at a municipal arts school, while Verónica is a new potter in this tradition who, in addition to creating her own space in Faro, shares her knowledge through workshops. Function Faro pottery is a centuries-old artisanal tradition that connects present generations with their historical and cultural roots. Each piece reflects techniques and designs passed down through time, making it a tangible symbol of local history. Origins and change Faro is a ceramic production center in Asturias, whose activity has been documented since the Middle Ages. Archaeological evidence confirms pottery production in this village dating back at least to the 11th century. Faro is frequently mentioned in medieval Asturian documents. In the 12th century, the following words are found: iuxta Ovetum, in villa pernominta Faro. The first reference to Faro's pottery industry dates back to the early 16th century (1519). The Marquis of Ensenada's cadastral survey (conducted in the territories of the Crown of Castile to understand, register, and evaluate assets) reports 72 potters, which highlights the significance of Faro in this industry and its productivity in the 18th century. The type of wheel used in Faro until the 20th century was the low or hand wheel, until José Vega "Lito" introduced the foot-operated wheel. This advancement led to an increase in production. The kiln used is the "open kiln." It consists of two parts: the firing chamber, where the pieces are stacked, and a boiler in which the fuel is placed; in this case, "rozu" (a type of fuel). Once the kiln is filled with ceramic pieces, the top is covered with "tapines," pieces of earth with green grass. The earth is placed facing inward, and broken tiles are used to form the chimney. In the past, firewood was the fuel for these kilns, but today propane gas is used. Organisations Xunta pola defensa de la Alfarería Tradicional de Faro and "Asociación de Amigos de la Alfarería de Faro". There is a conflict between both associations, as the Xunta advocates for the faithful maintenance of methods, techniques, forms, and decorations of this ceramic tradition. Places In the same village of Faro, there are archaeological sites associated with pottery making, including remnants of kilns, workshops, and clay extraction areas. The house and workshop, which includes a traditional kiln, of the Vega family (Faro de Arriba) is listed in the Inventory of Asturias' Cultural Heritage. Unfortunately, part of this workshop was damaged by a fire in December 2023. Artefacts Regarding those related to manufacturing, they are: a foot-operated lathe, a thread cutter, a trapadoiro (leather cloth), tools specific to pottery (small wooden tools, a knife, and an awl). For glazed ceramics, a pisón was used (a stone with a hole in the center serving as a mortar to crush lead with tin and sand, creating the mixture for white glaze or tin-glazed coating), along with a brush to apply pigments. As for the types of vessels, they include: the "barbón" (with three handles), the "penada" (a water pitcher), the jug — "xarra" for cider, the cheese maker, and the casserole dish. In glazed ceramics, there are also plates, bowls, water jugs — "xarru," chamber pots, and two vessels shaped like a rooster and a hen. Climate Threats Description The pottery workshop of "Selito" in Faro suffered a fire in 2023. Conflicts Description Lack of understanding between the two associations that defend the traditional pottery of Faro. Changes in political parties have caused ongoing projects related to the creation of a center for the interpretation of Faro's traditional pottery to be delayed or halted. There is also a lack of mediation tools in these conflicts. Demographic Threats Description On one hand, during the 1960s, there was large-scale migration from the countryside to the city, which caused the rural population to decrease significantly. On the other hand, Faro's proximity to the city of Oviedo has turned this area into a commuter town, inhabited by people with no familial ties to the rural area. Weakened Practice Description For various historical reasons, such as migration to the city or the emergence of household items made from other materials, ceramic vessels stopped being produced. Today, only two people continue practicing this pottery, and younger generations show no interest in learning. All of this has led to a decline in production over the years. Loss Threats Description The pottery workshop of "Selito" in Faro suffered a fire in 2023. Faro's proximity to the city of Oviedo has turned this area into a commuter town, inhabited by people with no familial ties to the rural area. State of the practice declining Social sustainability Currently, production is in decline. On a positive note, a new female artisan has established a workshop in the area, where she conducts workshops for the community. This represents a boost for the cultural revitalization of this rural region. Environmental sustainability This cultural practice does not involve pollution Economic sustainability Not actually. Place The town or city Faro, Oviedo, Asturias, Spain Place Description Faro is a small village of some 200 inhabitants in the Parroquia de Limanes, belonging to the Asturian municipality of Oviedo, a city from which it is only eight kilometres away. It was during the Middle Ages that the place became important due to its strategic location at the crossroads of communication routes and its dependence on the great monastery of San Pelayo. It was also during this period that its pottery activity, for which it is well known, began to emerge. Nowadays, together with a small agricultural and animal husbandry activity, Faro is fundamentally a residential area. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faro's pottery Type The nature or genre of the resource Intangible Description An account of the resource There are two types of pottery: black pottery, obtained by reducing iron-rich clay, which has been documented since the 11th century in various closed forms (puchero, barbón, penada, cider jug...), and glazed and enamelled pottery, which appears from the 13th century (escudilla, plate, jug, botijo...). The latter has the peculiarity of having two firings, the second one to fix the glaze and the paint, with geometric, vegetal and zoomorphic decorations, the most singular being the páxara, the most representative colours being green and yellow. The 18th century was the time of greatest splendour, with more than 70 potters. The arrival of earthenware would gradually lead to a decline in activity, until the only pottery workshop that has survived since the middle of the 20th century, making pieces in the same way as they were made in the Middle Ages. Language A language of the resource Spanish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 406 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. de Aldecoa, E. I. (1985). La cerámica vidriada de Faro: motivos decorativos. Liño: Revista anual de historia del arte, (5), 235-246. Busto, M. (2021). Sistematización arqueológica de las producciones de cerámica esmaltada y vidriada de Faro de Liminas (Astrurias, España) desde el siglo XVI al XVIII. Jaén: UJA Editorial. Menéndez, J. J. A. (1997). Un ejemplo de continuidad en la producción de ceràmica desde la Edad Media al siglo XX: Faro (Asturies-España). Olaria: Estudos Arqueológicos, Históricos e Etnológicos, (2), 93-100. https://www.youtube.com/watch?v=I_FpkQ5c6jM https://www.google.com/search?q=videos+taller+de+faro+ceramica&rlz=1C1RLNS_esES958ES961 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 18/06/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Alfarería de Faro Spatial Coverage Spatial characteristics of the resource. current,43.355833,-5.794167; Creator An entity primarily responsible for making the resource 681 Date Modified Date on which the resource was changed. 18/06/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Artisan An artisan Author iain Prim Media 706 Biographical Text Javier Ortiz del Peño was born in 1963, in the village of Beyo (Aller, Asturias, Spain). In the 2000s he moved to La Castañal, in the municipality of Bimenes (Asturias), where his wife is from and where he established his workshop. Javier is a wood craftsman but it is not his main occupation, although his profession is linked to it. He is a foundry model maker and works with wooden molds. Within the woodworking trades, he works in woodturning, cabinetmaking and carving. Woodworking is a personal vocation. He considers wood to be one of the best materials in existence. Historically, it has been used extensively in technology, tools, art and sculpture, musical instruments, means of transportation such as ships and airplanes, etc. He believes that wood craftsmanship has been fundamental in human development up to modern technology. He studied furniture restoration at a school in Oviedo (Asturias). His first contract was in the same school where he was trained, as a workshop teacher and teacher of Biology and Pathology of wood. The school closed and he continued his teaching work in another school that closed shortly after, so he joined a carpentry workshop, where he worked as a carpenter. He went back to work in a furniture restoration workshop, and from there he went to work in the industry, in a workshop of foundry molds made of wood. Since 1996 he began his activity as a wood craftsman, although he had done some work before. Today, he works with wood on a daily basis. He works with it in his professional occupation, and once the working day is over, he continues in his personal workshop making other wooden objects. He dedicates a good part of his free time to it because he considers it a pleasure and a hobby, in addition to his work. External ID UNIOVI_PR_01 Knowledge Acquisition Javier learnt his skills in a trade school in Oviedo, with several teachers giving theoretical and workshop training. Today, he continues his training with theoretical and practical courses. He considers that practice is fundamental, beyond learning some notions from other people. There is an important margin for improvement in his apprenticeship that the craftsman develops on his own, and this includes trial and error. According to his point of view, a craftsman may specialise in a particular type of production, such as bowl making, and needs to further develop his technique: positioning on the lathe, handling the tool, making the work more effective and having a certain degree of safety, etc. Once he has improved his technique, he can make some changes. Knowledge Transfer No, he does not teach anyone his craft. He does share his knowledge with people who contact him or at public exhibitions. Field Worker Santiago Rodríguez Pérez, Llara Fuente Corripio Gender male Area Relation incomer Area Reason Bello (Aller, Asturias). When he married, he moved to his wife's village. Occupation woodwork Involvment unpaid job/volunteering knowledge1 Woodworking requires a whole range of skills, and many trades have developed around it, specializing in the manufacture of specific elements. The wood turner must recognize the pieces of wood, identify the best cuts, mark, saw, plan the piece he wants to obtain, and work it. A simple piece can take a day's work, but depending on the finish, it can take several days. material1 Its main raw material is wood, generally of local origin. He considers it to be a particularly versatile material, with a long history, and which allows for the creation of a wide range of objects (furniture, tools, housing, etc.) material2 In his work he mainly uses locally sourced wood. He uses a lot of fruit wood, especially for small pieces. For larger pieces, he opts for chestnut or walnut. He discards the use of exotic woods, as he considers that they may have some degree of toxicity. But for small pieces, he prefers to use dark woods rather than dyeing. To obtain wood, he goes to nearby forests in search of fallen trees. Occasionally, some friends offer him pieces of wood. He likes to analyse the pieces, select them, see their properties, assess the type of objects he can create with them, and think about how to work them. He collects dry pieces from nature. However, some types of wood are difficult to obtain, such as yew and holly, which are protected species and cannot be cut, and are not easy to find dried. Still, he prefers to work with wood from a fallen tree near his workshop rather than buying it. Commercial wood offers fewer possibilities, as it tends to be much more uniform, and it is also expensive. Sometimes it is not possible to know its exact origin. However, he sometimes buys some pieces at trade fairs. The materials for the finishes (varnishes, dyes, etc.) are obtained from shops in Barcelona and he buys in bulk with other artisans to reduce costs. He also goes to local fairs and shops, but he uses natural oils, so he has to go to very specific shops. He does not use synthetic resins. material3 The leftover wood scraps, if they are of a certain size, he uses them for the chimney and the heating of his house. He also reuses wood to make other things. Some of his colleagues use the shavings to make pellets and briquettes for domestic heating. production1 Javier works mainly with the wood lathe to produce various objects by turning. production2 In the preliminary preparation of the pieces for the lathe, he uses the chainsaw, the axe and the electric planer to produce small square blocks. The compass is another important tool, as it is used for measuring and marking, and he also has specific, larger compasses for the interior of the bowls. He uses a continuous electric wood lathe to make the pieces, which incorporates a series of gripping plates to hold them. He uses different types of gouges to work the wood. There are specific gouges for hollowing out the inside of the bowls, with different angles of sharpening. He also uses texturisers to make decorations on the surface of the wood, or sandpaper for finishing. production3 In Javier's case, his tools have not been inherited from his ancestors. Over the years, he has been buying new and second-hand tools. He has an interesting collection of old woodworking tools acquired in flea markets and antique shops, as he appreciates the work of old carpentry craftsmen. Some of them have been repaired and he uses them in his work. The tools are stored in his workshop, organised according to their use. The gouges require a great deal of maintenance and sharpening, and each of them has a specific use in the creative process. It would be possible to modernise many aspects of his work, but he still works with many traditional tools. One of his favourite tools is the oblique chisels, because they allow a surface finish on the wooden pieces comparable to the best sanding, despite the limitations. production4 The main source of energy in the workshop is electricity, which is used in some machines and for lighting. It comes from the general grid connection, it has no renewable energy sources for self-consumption, although it would like to incorporate them in the future. The heating comes from the consumption of firewood. production5 Wood chips, shavings and sawdust used to heat the dwelling. workshop The craftsman has a small workshop, located on the ground floor of his house. It has a large window facing south, making it a bright space. In the centre are the large tools such as the wood lathe or the stationary planer, as well as the carpenter's bench. On the walls, the tools are stored on shelves and panels. In the workshop, he keeps part of his handicraft production. He also stores here the wood he uses as raw material. He built the workshop about 7 years ago. Before that he worked in a warehouse in the city where he has his job. It had always been his dream to have his own handicraft workshop. products1 Basically, most of his production is wooden bowls, which is what he sells. But he can make many other things with the wood lathe, which are not necessarily traditional, such as toys, instruments, small sculptures, etc. He also makes experimental pieces to explore the possibilities of a material, pushing the limits of the material and the technique. products2 He produces pieces for himself or as gifts for friends, and sells others. But he does not have enough production to have regular sales and be able to make a living from his artisan work. He understands that his production is not of basic items and he finds it difficult to make a living from it. He prefers to keep his main job, which is more stable and secure, as sales of handicrafts are very variable. products3 He usually sells his pieces at local markets, such as the Mercáu Tradicional La Puente Arriba in Grátila (Nava, Asturias). If someone contacts him, he also sells him a piece. products4 Although he does not hold workshops to teach his craft to others, he does give demonstrations of his work. The association to which he belongs (Les Forgaxes) often gives public demonstrations of woodturning, carpentry and carving at events and fairs, to bring the world of woodworking closer to the people. These meetings are open to the general public, and allow them to share experiences and knowledge with other craftsmen and enthusiasts. products5 Mainly restoration work on antique wooden objects, furniture, etc. products6 It depends on the type of pieces offered. For example, young people rarely buy items such as bowls, which they see no use for. They may buy some items as gifts. Other objects, such as toys or small musical instruments, are usually gifts from parents to children. There is not a very marked customer profile, nor by origin, he sells objects to local people and tourists. products7 No, nor does it have its own brand or logo. He would like his work to be recognised with a quality label. However, as he is not self-employed, he is not officially recognised as a craftsman in the government register, so he cannot have a label as a craftsman of Asturias. There are many others in his situation, who combine craftsmanship with a main activity. tourism1 No, Javier does not have any links with tourism, nor does he carry out any specific activities for tourists, but he would not mind participating in them. partnership He is part of an association of wood craftsmen called the Asociación de amigos de la madera ‘Les Forgaxes’. They hold an annual meeting of wood craftsmen. Here, public demonstrations are held, and leading national and international craftsmen are invited to hold workshops. They are spaces where knowledge is shared. They also talk to other artisans, with whom they share knowledge. challenges1 He considers that crafts are little publicised and have low visibility in society. There is no public support. In the case of his association, they receive a very small subsidy for annual events and everything is based on their altruistic work. On the other hand, there are many artisans who do very interesting work, but have to combine it with salaried work in other sectors. This prevents them from gaining recognition as artisans and a quality label, which is restricted to self-employed artisans who make a living from their production. challenges2 "todo el trabajo que hacemos nosotros, en el caso de la madera, no cubre [los costes de los eventos]" "conozco a muchas personas que hacen cosas de artesanía […], pero como artesanos no existen, la exigencia es que tienen que estar dados de alta, pero hay mucha gente que hace" references Asociación de Amigos de la Madera "Les Forgaxes": https://www.forgaxes.com/ Social Media The social media links. instagram,https://www.instagram.com/picutorneru/; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Ortiz_del_Peño,_Javier Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Javier Ortiz del Peño 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 1963 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 405 Source A related resource from which the described resource is derived artisans,asturiasmap,people Spatial Coverage Spatial characteristics of the resource. current,43.3335411671039,-5.5446023832244; 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. Ortiz del Peño, Javier https://culturality.museum/omeka/files/original/1a578fe3c20f43e0b61cb9a22b4169aa.mp3 47ab2f62810332d14ff90392af2e905e Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. DescriptionEN English Description Interview with Javier Ortiz del Peño Dublin Core The Dublin Core metadata element set is common to 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_01(01) Type The nature or genre of the resource Sound Description An account of the resource Interview with Javier Ortiz del Peño Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource audio/mp3 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-11-27 Spatial Coverage Spatial characteristics of the resource. current,43.3335455978306,-5.5446023832244; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. SOUND Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Llara Fuente Corripio, Santiago Rodríguez Pérez https://culturality.museum/omeka/files/original/dcdd65939d21575739a08dcb9be9f44d.jpg cf3dd5153bd2e78724b3305a4c4db19b 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. DescriptionEN English Description Javier Ortiz del Peño's workshop Dublin Core The Dublin Core metadata element set is common to 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_01(01) Type The nature or genre of the resource Still Image Description An account of the resource Javier Ortiz del Peño's workshop Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-11-27 Spatial Coverage Spatial characteristics of the resource. current,43.3335455978306,-5.5446023832244; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. 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. Llara Fuente Corripio, Santiago Rodríguez Pérez Artisan An artisan Contact therese.henner@gmail.com Author iain Email The email address of the museum. therese.henner@gmail.com Phone The phone number 46724032138 Prim Media 702 Biographical Text Therese works part-time with her own company Sirli Textil och part-time at Klässbols linneväveri (linen weaving). In her company she primarily works with different weaving techniques. She's also plant dyes and eco-print. She makes primarily everyday textile artefacts. She holds lectures, courses and exhibitions within her field. Her studio is at Gammelvala (open air folk museum) in Brunskog. Therese works with traditional weaving techniques such as tapestry and pick-up techniques such as rölakan, rya, HV-technique/woven transparency and pulled warp. Shuttled weaving techniques and traditional patterns that are of frequent use in her woven expression in rosepath, monk’s belt, dukagång and overshot weave. She has a genuine interest of sustainable practices, cultural heritage and questions regarding nature. External ID RV_PR_03 Knowledge Acquisition See above Knowledge Transfer Lectures, courses, workshops focus on heddle loom, and mending fabric. Course in eco-printing on vocational schools (folk high school). Have also been guest lecturer at University of South-Eastern Norway (campus Notodden’s textile education). She’s taught at the study association in Karlstad and held workshops at Rackstadmuseet and the municipality of Arvika. She sees there’s a growing interest for weaving in all ages, primarily in women. Field Worker Ulrika Jäger, Sara Olsson Gender female Area Relation native Occupation fibre and textile crafts Involvment part-time paid job knowledge1 Henner’s paternal grandmother taught her to crochet when Henner was a child, and her mother taught her to sew when Henner was around 10-11 years old. She’s studied two year of textile and two years of textile and arts education at University of South-Eastern Norway and holds a bachelors of Arts and crafts (textile). Then she received a scholarship for further studies of weaving 2019-2020 at Ritwa Lingrot (traditional weaving) and Gunilla Brander-Smedberg (tapestry and plant dying). material1 Henner chooses primarily natural materials such as linen and wool, both with rich traditional use in Sweden. She also to some extent uses cotton and hemp. Natural fibers are important for her and sees no alternatives. material2 Henner buys her wool yarn from Swedish manufacturer: Garnhuset Kinna textil as well as wool "pälsullgarn" from Rauma (Norway). Henner buys her linen yarn from Holma (the fibers are grown in Eastern Europe and France). For eco-print fabric she imports thin wool shawls from England. material3 Henner has gotten linen yarn from the 1930-40’s and other yarns from estates in the local area where she lives. She also buys second hand. Since short yarns can be used for decorations in weaves, she collects and uses what she cans or arranges so that others can use leftover yarn. production1 Weaving, crocheting, sewing production2 All tools necessary for hand weaving on a counterbalance (floor) loom, band loom or a heddle loom. Weft, warp, scissors, equipment for dying, different needles... production3 Henner has her mother's tailor's scissor, which was a present and she still uses. The floor loom "Öxabäck" she uses, which Henner describes as the "rolls royce" of looms, is so tall that she can either stand or sit while weaving which fits her height of 1.7m. Henner also has a loom after her maternal grandmother in the farm house of her family home, but the wood has warped and is no longer useable. There was also a small ridgid heddle loom found in the insulation of her family home's attic, which was mended with linen thread and is used by Henner now. production4 The studio is heated with electricity. Her home is heated with a wood burning stove and electricity. production5 There's no waste. workshop Currently involved in a course at vocational school in Stöllet, Värmland. Next time she’s teaching there is summer of 2025. products1 Primarily hand woven cushions, lamp shades, jewelry, band and shawls. products2 She makes applied arts which are for use, beauty and joy in the homes of people. products3 They are sold at Konsthantverkarna i Arvika, Rackstadmuseet (Arvika) and at her studio outside of Arvika. products4 She provides repairation services. products5 Yes. Henner believes that it's important that an older object can have an extended life if it's mendable. products6 Mainly women between 50 - 70 years old. products7 Her studio is situated at (above all at summertime) well-visited open-air museum in Värmland. The association which runs the place also arranges events such as markets throughout the year, which are popular. Each summer the the week-long event “Gammelvala” is arranged (in dialect translated to old world), during which all the area is filled with activities connected to cultural heritage. Tourists visiting can see Henner’s studio during this week too, but Henner has no activities of her own connected to tourists. tourism1 Jag ställer inte ut på marknader förutom här på hembygdsgårn eller som dom marknader som vi har här och evenemangen som Gammelvala och så och då har jag ju öppen atelje med försäljning härifrån så och inget stånd nere på området och det är ju både positivt och negativt. För naturligtvis hade ju fler folk sett mig om jag hade haft en plats som var mer öppen och tillgänglig, samtidigt så är det kan det vara svårt fortfarande med konsthantverk på det sättet jämte utbudet på såna marknader och det är prismässigt naturligtvis för det blir en ganska stor skillnad. En tanke med det att jag inte vill stå därnere är ju att jag vill visa och sälja mitt hantverk liksom nära där jag också producerar eller skapar det för det ger ett mervärde till kunden och en förhoppningsvis en förståelse för tiden som är lagt på produkten. När man ser ateljen och verktygen och så. tourism2 Member of Arvika konsthantverk (Arvika’s Arts and Crafts) which is an economic association with a store in central Arvika with an exhibition space. It’s a well-established association which has been around for about 120 years. She’s also a member of The Artists' Association of Sweden. As of 2025, she's a member of the project Co-craft Collection Experiment about natural dyes. (more: https://www.instagram.com/cocraftcollection/) partnership Member of Arvika konsthantverk (Arvika’s Arts and Crafts) which is an economic association with a store in central Arvika with an exhibition space. It’s a well-established association which has been around for about 120 years. She’s also a member of The Artists' Association of Sweden. As of 2025, she's a member of the project Co-craft Collection Experiment about natural dyes. (more: https://www.instagram.com/cocraftcollection/) challenges1 Time is an important factor, and to take time for development. There’s a pressure of production. Social media takes a lot of effort to be active enough. It’s important to stand out “in the crowd”, digitally even though it’s easier these days living rurally. challenges2 "Det tar nån timme att fundera ut vad man ska skriva i dom där inläggen. Det är inte bara att lägga upp vad som helst." It takes about an hour to figure out what to write in these posts. It’s not just about posting anything. references Konsten att väva. En praktisk handbok. Av Åsa Pärson och Amica Sundström. ISBN: 9978-91-7887-085-1 Handbok i vävning. Bindningslära med konstvävnader. Av Ulla Cyrus- Zetterström. ISBN: 91-36-00445-6 A handweavers patterns book, by Marguerite Proter Davison ISBN: 9781626548428 Tapestry with pulled warp. Inspiration, Technique and the Creative Process. Av Susan Iversen. ISBN: 987-0-7643-5933 Social Media The social media links. facebook,https://www.facebook.com/sirlitextil;instagram,https://www.instagram.com/sirli_textil; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Henner,_Therese Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Therese Henner 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 1986 Language A language of the resource Swedish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 404 Source A related resource from which the described resource is derived artisans,people,varmlandmap Spatial Coverage Spatial characteristics of the resource. current,59.6574488,12.890542; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Sweden Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Henner, Therese 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://arvikakonsthantverk.se/medlemmar/therese-henner.html https://culturality.museum/omeka/files/original/1283d196cd5cd6250dcb0da52574e8e4.mp3 ed8a4330f6c019aaff968c7b9ca5b991 Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. DescriptionEN English Description Interview with Therese Henner Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource RV_PR_03(01) Type The nature or genre of the resource Sound Description An account of the resource Interview with Therese Henner Contributor An entity responsible for making contributions to the resource iain License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-06 Spatial Coverage Spatial characteristics of the resource. current,59.6574488,12.890542; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. SOUND Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger, Sara Olsson https://culturality.museum/omeka/files/original/7d77698e3f1e3f5c8f1e274fe528254f.jpg 489d099e5878cca89fba154e9e5a4e65 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. DescriptionEN English Description Therese Henner sitting at loom. View from front and natural dyed yarns hanging on string above heddles Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource RV_PR_03(02) Type The nature or genre of the resource Still Image Description An account of the resource Therese Henner sitting at loom. View from front and natural dyed yarns hanging on string above heddles Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-06 Spatial Coverage Spatial characteristics of the resource. current,59.6574488,12.890542; 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. Susanne Johansson Sadri https://culturality.museum/omeka/files/original/5ab1609a4cd7b2877c5b2a6f1dd4b2aa.JPG 5669917f7d1d20654fd81a35d2b71912 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. DescriptionEN English Description Therese Henner looking into camera, wearing scarf and band she's woven herself. Winter landscape in background Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource RV_PR_03(01) Type The nature or genre of the resource Still Image Description An account of the resource Therese Henner looking into camera, wearing scarf and band she's woven herself. Winter landscape in background Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024:02:16 12:10:06 Spatial Coverage Spatial characteristics of the resource. current,59.6574488,12.890542; 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. Susanne Johansson Sadri Artisan An artisan Contact ullting@hotmail.com Author iain Email The email address of the museum. ullting@hotmail.com Phone The phone number 46703356353 Prim Media 696 Biographical Text Carina Haglund felts artefacts that she sells and shows at exhibitions. She arranges workshops and courses for children and adults. She's also doing lectures about her craft. Haglund is member and participating in the event "Fårfesten" in the town of Kil, a large annual event focusing on all things related to sheep - wool, husbandry, leather and meat. Prior to the even she's been teaching all children in the town of Kil in class four (ages 10) in felting. haglund lives ruraly with her husband and she has a studio on the farm where she makes her wool craft. She's also working part time at a pre-school 30%. External ID RV_PR_02 Knowledge Acquisition Haglund attended several educations and courses. She can't remember all of them, but mentions: Marianne Andersson (Kil, Sweden), Fiona Duthie Canada (Canada), Yvonne Habbe (Gotland, Sweden). Schools: Kyrkeruds Folkhögskola (Årjäng, Sweden), Handarbetets vänner (Stockholm, Sweden). Knowledge Transfer Haglund has courses and workshops in felting on her farm currently. She's also prior been teaching felting for all children in year 4 (ages 10) in the town of Kil. Field Worker Ulrika Jäger, Kajsa Stinnerbom Area Relation incomer Area Reason She moved from Karlstad with her husband to try living in the countryside Occupation fibre and textile crafts Involvment part-time paid job knowledge1 Haglund's got knowledge of how to prepare wool all the way leading up to felting. She is knowledgable of the different qualities of wool and how to practice crafts related to felting. material1 Carded wool in natural colour and coloured. Primarily wool from Gotlandsheep, Finnsheep and Leichester sheep material2 Åddebo ull: addeboull.com; Filtmakeriet: filtmakeriet.se; Bibbis textil: bibbistextil.se; Korps: korps.se; IKEA: ikea.com. Second hand and inherited craft supplies material3 Carina saves and sorts her leftover needle felt which she then uses in other craft projects. production1 Wet felting by hand. Wet felting by machine (see video) when making carpets. Sewing by hand and machine. production2 Bubbelplast, yes diskmedel, olivvål, vatten, rundstav. stänkflaska, tovträ, nål, sax, rullkniv, symaskin, maskin för tovning. production3 Carina's relationship to her tools is practical in nature. production4 Electricity supplier, air source heat pump, solar cells production5 Water which is just pour out on the farm. The leftover wool is used for new projects. workshop Carina has her studio in the same location as the farm where she lives. They have a farm building on the site which was remade into a studio. products1 Pillows, bags, decorations (e.g. holiday decorations), cushions, carpets, pots, lamp shades, mittens, and more. products2 For everyday use in the home. The products are both made to be warming and for decorations. products3 She sells her products at her home, but also as a guest at the cooperatives Konsthantverkarna i Karlstad: konsthantverkarnakarlstad.se; Konsthantverkarna i Arvika: arvikakonsthantverk.se (both online and on site stores), and at events. products4 Courses, lecturers and workshops in felting. products5 She's never been asked products6 Haglund says it's everyone products7 Her own label with the laser engraved leather tag: "Ullting" (loosely translated to "wool stuff"). A paper tag is also fastened to the products with her name and contact info. tourism1 Not as of now tourism2 Vi hyr ju ut till turister men det är ju inte på det sättet men vi kanske i och med vårat skogs....mitt...vårat andra företag...företaget att...att...det blir mer naturturism.....och kombo kanske med nån tovning kanske, vem vet. partnership Guest member of Karlstad konsthantverkare, member of Arvika konsthantverkare, previous member of Åmåls konsthantverkare (all cooperatives), member of Fåreningen (local wool association). She's been teaching felting at the municipalities schools. Held exibitions at G:a Kraftstationen (Deje, Sweden), Karby Gård (Täby, Sweden), Galleri Borgenhad Holmqvist (Eskilstuna, Sweden) and at craft events. Is in collaboration with a crafter and friend in Stockholm, with whom she's also teaching felting. challenges1 There's challanges with reaching out with what she's doing - with PR. She finds it's difficult to write the texts for scholarships and funding. Crafting is very often overlooked and easily "falls through the cracks", since it's not art. It's important to think ahead, since it's not profitable as of now. She would not be able to manage if she didn't have her husband. It's a struggle to have economic sustainability. challenges2 Men nu gör jag ju en kombo här i vår med att gå tillbaka och jobba lite som förskolelärare men jag har ju många projekt på gång också, så jag ska inte jobba för mycket som förskolelärare eftersom jag har som vi pratat om här preciss två stora utställningar ochj ja fårfesten som är årets grej. Men jag behöver ju också det här eld i baken så att det blir gjort. references Tova- gammal teknik på nytt sätt. Gunilla Paetau Sjöberg Att välja färg- Berit Bergström Får boken- Anders Jansson, Nina Östman Felt passion- Ellen Bakker, RIchard Assman Social Media The social media links. facebook,https://www.facebook.com/UllTing/;instagram,https://www.instagram.com/ullting; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Haglund,_Carina Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Carina Haglund 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 1966 Language A language of the resource Swedish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 403 Source A related resource from which the described resource is derived artisans,people,varmlandmap Spatial Coverage Spatial characteristics of the resource. current,59.729006,13.322161; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Sweden Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Haglund, Carina Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://www.ullting.se/ https://culturality.museum/omeka/files/original/1ed946462e83501b4f7168c1d0911635.mp3 a933c83a54b8ad90f407c6835810b0d4 Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. DescriptionEN English Description interview with Carina Haglund Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource RV_PR_02(01) Audio Type The nature or genre of the resource Sound Description An account of the resource interview with Carina Haglund Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource audio/mp3 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-10 Spatial Coverage Spatial characteristics of the resource. current,59.7283287,13.2991595; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. SOUND Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger, Kajsa Stinnerbom https://culturality.museum/omeka/files/original/ed15270be6ef78e16687e9a2e28d6488.jpg c10cee5f23145dbda1e397449baca19e Panorama DescriptionEN English Description insta360 photo of Haglund's workshop Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource RV_PR_02(01)-photosphere Type The nature or genre of the resource Panorama Description An account of the resource insta360 photo of Haglund's workshop Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-10 Spatial Coverage Spatial characteristics of the resource. current,59.728256184413,13.3208881260733; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger https://culturality.museum/omeka/files/original/dfb557bc137ecab783d1f163c26ca3ca.JPG 60aac0bd8037e7debea17c6c49df8926 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. DescriptionEN English Description Winter. Haglunds workshop in the left side of the image and house on the right. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource RV_PR_02(03) Type The nature or genre of the resource Still Image Description An account of the resource Winter. Haglunds workshop in the left side of the image and house on the right. Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-21 Spatial Coverage Spatial characteristics of the resource. current,59.728256184413,13.3208881260733; 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. Susanne Johansson Sadri https://culturality.museum/omeka/files/original/345f7b2f88c1dacc8cbdae80d020249b.JPG 66ba611d7ae3836249f240fa681b0d26 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. DescriptionEN English Description Winter. Portrait of Carina Haglund, on stair to one of her houses. Her workshop is the red builidng in the left corner Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource RV_PR_02(02) Type The nature or genre of the resource Still Image Description An account of the resource Winter. Portrait of Carina Haglund, on stair to one of her houses. Her workshop is the red builidng in the left corner Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-21 Spatial Coverage Spatial characteristics of the resource. current,59.728256184413,13.3208881260733; 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. Susanne Johansson Sadri https://culturality.museum/omeka/files/original/f44d604532d6222cd25aa620ce62ff16.JPG c3d2962132aa07eb363676b040198a0b 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. DescriptionEN English Description Portrait of Carina Haglund inside her workshop Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource RV_PR_02(01) Type The nature or genre of the resource Still Image Description An account of the resource Portrait of Carina Haglund inside her workshop Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-21 Spatial Coverage Spatial characteristics of the resource. current,59.728256184413,13.3208881260733; 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. Susanne Johansson Sadri Artisan An artisan Contact inez.assk37@gmail.com Author iain Email The email address of the museum. inez.assk37@gmail.com Phone The phone number +46 70-5944530 Prim Media 694 Biographical Text Inez has worked as a textile teacher and is now retired. Knitting has been important for her throughout her life. She has had a big exhibition of mittens (she has inherited artifacts of her grandmothers) in entrelac in Sunne at Sundsbergsgård a few years ago and she has also published a book “Maria's mittens”. She knits in her family's tradition. External ID RV_PR_01 Knowledge Acquisition As a child, she watched her great-grandmother knit and Inez was further taught by her grandmother in the 1970s. Knowledge Transfer Inez have had som workshops where she have taught. She's has written av book with her patterns. Inez currently is mentoring knitter and crafter Ulrika Jäger Field Worker Ulrika Jäger, Sara Olsson Gender female Area Relation native Occupation fibre and textile crafts knowledge1 Knowledge in knitting and to be able to read and understand patterns. The entrelac technique requiers further knowledge. material1 Only wool yarn from sheep, and most of it is imported from Norway. She finds that the norweigian yarn is of a especially high quality material2 Inez buys her wool from a local knitting store in Sunne: www.lillagarnverstan.se. The yarn is from Rauma Ullvarefabrikk's website: www.rauma.no material3 Inez makes use of all the yarn, and uses the leftovers. If there's yarn left when she finishes one product, she will continue to make use of it in her next project. This is made easy by the fact that she sticks to using the same qualities for most part. production1 Entrelac, among other techniques production2 Mostly knitting needles made of metal, wood and bamboo, both sock needles and circular needles as well as a messuring tools. production3 It's of course not possible to knit these products without using tools. Inez tells stories of how the metal needles have changed throughout the years and these days are coated as to not colour the yarn. The needles of metal are heavier and slippery, but the ones of wood or bamboo are lighter and will not as easily slip out of the knit. The material is also the original patterns which she has inherited from her materal great grandmother. production4 Inez knits in her own home. The home is heated both with electricity from a energy provider and with a fireplace where she uses wood. (note: common ways to heat owns home in Sweden) production5 There's no waste created workshop She has a room in her house where she keeps all her artefacts in plastic boxes. products1 Mittens, socks, caps, sweathers, blankets, wests products2 She produces them for own use, as gifts and for exhibitions products3 She's previously made artefacts for selling, but she's not anymore products4 Workshops, exhibitions. She's also written a book with her patterns products5 No products6 Mostly women products7 "Utmärkt värmländsk slöjd" which translates to "craft from Värmland of extraordinaty quality", awarded to toptier quality by a jury of the local regional crafts association tourism1 No, but she would like to tourism2 (When asked about wish to be invoved with tourism activities): Yes, really interested in this, Finn forest and well, Lekvattnet (note: a village in Finn forest), that museum here and this Finn culture. Because it's so close to my home where I was born and therefor it would be so exciting to, well, get a bit further in the tourism context./ Ja det är de verkligen inresserade utav, Finnskogs ja i Lekvatten det här museet här och ja den här Finnkulturen. För att det ligger så nära mina hemtrakter där jag är född och så därför tycker jag det skulle vara väldigt roligt å ja komma lite längre i det här turistsammanhanget. (21:16 minutes into the interview) partnership She's associated with knitting cafés. She's had associations with the local regional crafts association. challenges2 I believe we can make it more popular. But it's not an easy technique, one has say, the way [entrelac] is knitted / Jag tror nog vi kan få upp det lite ännu mer så att det blir populär. Men det är ingen lätt teknik det får en lov å säga innan de vet, ja, sättet hur man stickar (41:10 into the interview) references Marias vantar. En bok om näverstickning - vantar, mössor, småslöjd. Inez Assk ISBN9789186699659 Kontstrikk. Ruth Gullbekk Bolstad. ISBN9788291195353 Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Assk,_Inez Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Inez Assk 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 1936 Language A language of the resource Swedish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 402 Source A related resource from which the described resource is derived artisans,people,varmlandmap Spatial Coverage Spatial characteristics of the resource. current,59.8376399,13.1230106; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Sweden Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Assk, Inez https://culturality.museum/omeka/files/original/30ae5e24ad6139929b7e7f72e9cd1dd5.jpg 4a968ddf9a319a667fb0be2d3b820225 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. DescriptionEN English Description Inez Assk in her home, knitting Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource RV_PR_01(01) Type The nature or genre of the resource Still Image Description An account of the resource Inez Assk in her home, knitting Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Spatial Coverage Spatial characteristics of the resource. current,59.8376399,13.1230106; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger, Sara Olsson https://culturality.museum/omeka/files/original/abedb8f9dea1cfe8358c9532bc359699.mp3 1778df17f854e11fd0007348fda660fd Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. DescriptionEN English Description Interview with Inez Assk Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource RV_PR_01(01) Type The nature or genre of the resource Sound Description An account of the resource Interview with Inez Assk Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource audio/mp3 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-11-20 Spatial Coverage Spatial characteristics of the resource. current,59.8376399,13.1230106; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. SOUND Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger, Sara Olsson https://culturality.museum/omeka/files/original/c5bf03db80568d01f3d71b60ba1d343a.mp4 e32aff6af4575369d0a8e403fe02e272 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. DescriptionEN English Description Interview with Tor-Vegard Mørkved Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MN_PR_02(03) Type The nature or genre of the resource Moving Image Description An account of the resource Interview with Tor-Vegard Mørkved 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/MN_PR_02_03_.mp4 https://culturality.museum/omeka/files/original/6c2c4fb379ef7273fc742f10988c60ed.mp4 9790899d6b7e4d7fa25f9d8d71e2ce1b 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. DescriptionEN English Description Interview with Tor-Vegard Mørkved Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MN_PR_02(02) Type The nature or genre of the resource Moving Image Description An account of the resource Interview with Tor-Vegard Mørkved 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/MN_PR_02_02_.mp4 https://culturality.museum/omeka/files/original/a1b9593c091bf220057771321bad0098.mp4 68caf77b874a2de26fae6e15d6c05b27 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. DescriptionEN English Description Interview with Tor-Vegard Mørkved Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MN_PR_02(01) Type The nature or genre of the resource Moving Image Description An account of the resource Interview with Tor-Vegard Mørkved 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/MN_PR_02_01_.mp4 Artisan An artisan Contact tor-vegard@smedenisund.no Author iain Email The email address of the museum. tor-vegard@smedenisund.no Phone The phone number +47 76 09 36 29 Prim Media 688 Biographical Text Tor-Vegard Mørkved, art blacksmith, The Blacksmith in Sund (Smeden i Sund), with his world: "the only Cormorant-maker blacksmith in the World" (Verdens eneste skar. His emblematic artwork is a sculpture of a native seabird, cormorant (skarv). Tor-Vegard was born in 1965 and is a local and a native to Flakstad Island in Lofoten. He is the successor of Hans Gjertsen, the first Smeden i Sund, or as he was later called "Gammelsmeden"/"The Old Balcksmith". Tor-Vegard learned his crafts and knowledge regardindg the practice from Hans Gjertsen between 1987 and 1989 as a trainee. He took over the forge in 1989 from Hans and delevolped new versions of the previously created cormorants, and introduced new products. Tor-Vegard is also the head of the Sund Fishery Museum. The museum displays boat motors and life in a fishing village. The forge is a part of the museum. The practitoner is also known for his local engadgements. He created the light boat for the local church in Flakstad, a nordland type boat, forged from steel, to hold candles and lights in the chuch as remeberance. Tor-Vegrad is married and is a father to 6 children. He has been working as a backsmith for 38 years. External ID MN_PR_02 Knowledge Acquisition Tor-Vegard learned his skills from the previous blacksmith in Sund, Hans Gjertsen as a trainee 1987-1989. Gjetrsen was the "first" Smeden i Sund, (blacksmith in Sund) and he created the emblematic cormorant design. The hand forged bird figure, that stands on a piece of stone from Lofoten became a known art piece after King Olav V., King of Norway got an example from Hans Gjertsen. The king visited Lofoten to åpen a the newly completed Lofoten road, E10 in 1963. The opening ceremonies took place Tor-Vegard took over the smithy and developed the desing to its form today. Knowledge Transfer The practitioner accepts trainees. He recently had his son as a trainee in the fogre. Hans Mørkved just got his cerification as a blacksmith, he is also practicing in the workshop, working towards to become the successor of Tor-Vegard. Field Worker Agnes Csenki Gender male Area Relation native Area Reason Sundveien 118, 8384 Sund, Flakstad Municipality, Lofoten Islands, Nordland County, Norway Occupation metalwork Involvment full-time paid job knowledge1 The practitioner must have both practical and theoretical knowledge, connected to the metals and tools, and a basic knowledge in metallurgy. Forging is a hard physical work, that requires physical strength knowledge of the properties of the material in use, and the tools one needs. Knowing the tools he is using is essential to get the right results. Good safety routines, applied to both the person working and the visitors is also very important. Planing, design, cretive material use, reasonable materila use. The practitoner also uses obersvation of nature and humans, as inspiration in his crafts. material1 Metal, steel, brass, natural stone, harvested from the sea. material2 He previously could buy metal locally, from local distributors (f. eks. from Ballstad), but the suppliing became more centralised. Recently he buys metal from Harstad, from a supplier. The practitiones prefers to buy his tools, machines and materials locally, if it is possible. It is important for him to support the local businesses. Since Sund is a small fishing village with low population, in a remote island, it requires planning to get all the supplies that are neccessary for the poduction. material3 There are little leftovers, Tor-Vegard has an effective, reasonable and material-saving practice at material use. Metal is a a vesatile material and leftovers can often be used up in different projects. The practitioner has a reasonable practice in leftover management, and he keeps a limited amount of leftovers, that can be used in diferent new prodjects in a creative way. Metal can be recycled, Tor-Vegard uses the recylcling services of the closest enviromental station. production1 Tor-Vegard works with steel and froms warm metal into shapes. He practices traditional forging in his workshop and uses hot forging by hand and hot forging by mechanical hammer. He attaches different pieces together by welding. The practitioner finishes his products by brushig and polishing. Different finishing techniques give different results. Burning oil onto the surface provides a black finish, brushing brass onto the hot surface results a golden shine. Tor-Vegard uses epoxy glue to attach the metal figures onto the stones. production2 Tor-Vegards is using his own tools. Pliers in different sizes and forms, anvils, hammers also in different sizes and forms, mechanical hammers, coal forge with a fan, welding machine, grinders, and brushes. These equipment he knows well, and are adapted to his needs and ways to work. production3 Tor-Vegard uses his own tools, whitch are customised and adapted for his needs. Some of the tools and machinary he inherited from the previous blacksmith, Hans Gjertsen, others he bought, or created himself. He says that he is not connected emotionally to his tools, but as a matter of course he can work best with his own tools, can rely on them and in that sense he is connected to them. He doesnt find it difficult to replace his old tools if its needed. production4 Tor-Vegard uses a mix of energy sources in his workshop: electricity, coal burning to warm up the metals, and gas burning also to warm up metal. Electricity is used to warm up the workshop in the winter time, to operate the fan that provides oxigen to the burning in the forge. Electricity also operates the heavy, mechanical hammers, the welding machine and other small electric tools (f.e. brushes). The coal (coke, cola, rarely charcoal) he burns in the forge to warm up the metal. production5 During the process, a limited amount of waste generates. The waste that cannot be reused or recycled by the practitioner, are the ashes after burning coal, grinding dust and smaller metal pieces. He delivers the waste to the local enviromatal station (Mijløstasjon-Fjøsdalen) for further waste management. workshop Yes, the practicioner has his own workshop, that functions both as workshop and as a "showroom" to showcase his products and practice-how the products are made. He interacts with the visotors as a host. That hybrid setup offers a great opportunity by catching the interest of the visitors, creating a multi-sensory, personal experience and a will to purchase. products1 The practitioner produces metal sculptures, mostly inspired by nature, humans, and animals in Lofoten; sea birds such as cormorant, sea eagle, penguin. He enjoys dinamics and aerodynamica, and, dynamic human figures. products2 Tor-Vegard produces his products for sale. He accepts special orders on products, that are slo for sale. Tor Vegard creates works occasionaly for the community, for example he forged the "lysbåt"/"light boat" for the church og Flakstad. A traditional nordlandsboat, made of steel, where the church members can lit candles and tea lights as remeberance. products3 The items are sold in the workshop, in the Cafe, driven by Tor-Vegars family in the Museum area, and on Tor-Vegards webshop (https://smedenisund.no/nettbutikk/). products4 Orders, reparations, forging services products5 Yes, he offers repairs and connected sercices to the products he sells. Mostly locals use these services, since a huge percentage of the customers (tourists from differernt countires) live abroad, and geographical challanges occure by delivering the objects to the workshop. Services: polishing and treating rusted objects, reattaching objects to the "footstone". products6 At the highest number the customers are international tourists who visit Lofoten, at a lower number of domestic tourists. Locals also buy products from the practitioner and give orders on special projects. products7 Tor-Vegard has his own mark, iron stemple, that is officially registered. He is using that mark on the products he creates. tourism1 Yes, Tor-Vegard lives almost entirely off the tourism in Lofoten. He is the Blacksmith in Sund with a living and working forge/workshop, and the head of the Sund Fishery Museum. Most of the tourists come from different countires in Europe, and partnership No. challenges1 Most of the recent challenges circle around supplies, logistics, weather conditions and road conditions, reaching the area, travelling connections. Sund in Lofoten has limited access to raw materials, the suppliers are centralised, and the practitioner needs to travel to Harstad to buy raw materials and supplies for the production. The rapidly changing weather and storms can cause, that bridges and roads close for shorter periods, also mountain avalanches can cause a stop in traffic. Travel connections stopping or getting worse could also challenge the business. Another challenge would be if, for some reason, visitors would stop arriving to Lofoten and the public who are the market for the products (tourists) would disappear. references https://www.smedenisund.no/museet.html https://www.smedenisund.no/hva_skjer.html SMEDEN I SUND - SUND FISKERIMUSEUM - Smia og museets historie https://www.barnasnorge.no/aktiviteter/sund-fiskerimuseum-og-smeden-i-sund https://arkivinordland.no/fylkesleksikon/innhold/hendelser-og-historie/smeden-i-sund.37737.aspx https://www.visitnorway.com/listings/the-blacksmith-of-sund-sund-fisherymuseum-entrance/208940/ https://visitlofoten.com/aktivitet/museum/smeden-i-sund-sund-fiskerimuseum-inngang/ https://www.lofoten-info.no/sund-mus.htm https://paulsplanetblog.blogspot.com/2012/09/smeden-i-sund.html https://www.abcnyheter.no/reise/inspirasjon/2019/06/25/195588680/da-kong-olav-v-fikk-skarv https://no.tripadvisor.com/Attraction_Review-g612446-d4660290-Reviews-Smeden_i_Sund_Sund_Fiskerimuseum-Flakstadoy_Flakstad_Municipality_Lofoten_Islands.html https://eng.handverksinstituttet.no/ Bergland, Håvar: The art of traditional blackmithing The Norwegian perspective Bergland, Håvar: Norwegian knife making. Ancient tecniques and tradition https://norsksmedforening.wordpress.com/ Pehrson, Sjur Axel: Smedarbeid - vg2 og vg3, Yrkeslitteratur, 2009. Wefring, Christoffer-Gørrissen, Johan : Konstruksjons- og Verktøystål. Anvendelse og varmebehandling. Oslo, 1971 Norén, Karl-Gunnar-Enander, Lars: Nya järnsmidesboken. Nielsen Norén Förlag, 2008. Lofotposten, lørdag 25. november 1989 Lofot-Tidende, torsdag 16. november 1989 Dagen (Bergen), mandag 18. juli 2011 https://www.nb.no/items/2fc35b54f25090e229b415a0f5fab3ee?page=23&searchText=%22tor-vegard%20m%C3%B8rkved%22 https://nordnorge.com/en/aktiviteter/the-blacksmith-of-sund-offers-an-iron-souvenir-you-wont-be-finding-elsewhere/ Social Media The social media links. facebook,https://www.facebook.com/SmedeniSund;instagram,https://www.instagram.com/smeden_i_sund/ (@smeden_i_sund); Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Tor-Vegard_Mørkved Shop https://smedenisund.no/nettbutikk/ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tor-Vegard Mørkved 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 1965 Language A language of the resource English,Norwegian Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 401 Source A related resource from which the described resource is derived artisans,people Spatial Coverage Spatial characteristics of the resource. current,68.004948,13.207371; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Norway Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Tor-Vegard Mørkved Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://www.smedenisund.no/kontakt.html https://culturality.museum/omeka/files/original/fd96f8db4a2087413c7532ce1022f9a6.jpg cf357aeacd8dec5a83a4ef92ba39fb4d https://culturality.museum/omeka/files/original/022ee92b902bd62818fe2c32e7c14114.jpg 552599aac910e2f6c947127e6be98037 https://culturality.museum/omeka/files/original/e560b457f14f85b8f49d169200901c5c.jpg 1bac07f22b16627e007e3b98e5f59ce5 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 MN_PR_02 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 Artisan An artisan Contact post@lofoten-wool.no Author iain Email The email address of the museum. post@lofoten-wool.no Phone The phone number 0047 90 50 40 01 Prim Media 1005 Biographical Text Ragnhild Lie grew up in Gudbrandsdalen and Lillehammer and has knitted, chrochet, braided, sewn and woven since she was little. Ragnhild is educated as textile artisan and holds a MA in Textiles from Bergen school of Art took in 1997. Her broad range of textile-based experience includes fine art, theater and education. She has worked at Sjølingstad Wool Mill, studied tapestry at Oslo University College of Art and Design, taught at Lofoten School of Arts for kids and led courses from kindergarten to university level. She works as lecturer and textile artist within the textile field in Norway. She now lives and works on the farm in Stamsund where she manages and develop the business Lofoten Wool established in 2014. On the farm of Lofoten Wool business, Ragnhild has a herd of 30 sheep which provide the company with wool and meat. The meat is sold to a local slaughterhouse (located in Leknes, about 7 km from Lofoten Wool), while the wool is processed in order to create the woolen products sold in the Lofoten Wool shops, online and to third party resellers. Environmental sustainability is the key principle of Ragnhild's corporate and production philosophy. External ID MN_PR_01 Knowledge Acquisition She learnt to craft with threads since she was a child from her mother and grandmother, specifically knitting and hand made rugs. She learnt crochet tapestry in middle school, and later many different weaving techniques, e.g. card weaving (brikkevev), grindvev, warp-weighted loom and . In 1997 she acquired a MA in Textiles. In the present, she keeps on increasing her knowledge through her own research in books and talking to museum conservators. Knowledge Transfer Teaching employees, school teachings, doing art proyects, and courses for adults. Field Worker Elisabeth Rosa Brusin, Ole Andreas Sagmo, Rebeca Franco Valle Gender female Area Relation incomer Area Reason The practitioner moved to Lofoten before 2013 but not specified when, almost casually. According to Ragnhild, Lofoten is an Eldorado for wool and lamb/sheep meat that wasn't developed. Most of the wool produced in Lofoten was and still is exported to England to never come back to Norway. Ragnhild realised she should have taken action to reverse this trend and to give new prominence to the wool produced by Lofoten sheep at a more local level. Occupation fibre and textile crafts,artist Involvment full-time paid job knowledge1 Sheep care and farming, plant dying with natural materials, wool processing, textile construction on the loom, knitting, design of knitting patterns, needle binding. material1 Wool and silk material2 Much of the wool production comes from local farmers that respect animal wellfare. Besides this, her own sheep are also The silk and some of the dyes are not local, and have to be inmported. material3 There are not many leftovers of the production production1 Knitting and weaving. Dying with natural dyes. production2 She uses a modern knitting machine and a weaving machine.She also employs 50 persons knitting for her,. Mostly woman, adult and retired ladies as a contribution to their pension. production3 It is a pragmatic relationship. When a machine stops working, it has to be fixed. production4 The general electric supply production5 There is very little waste generated. The wool leftovers are compostable. workshop The practitioner has separated rooms in her own house to practice, manage and store some parts of the production. She also has buildings to keep the animals (sheep) during the winter, as well as a plot of land for the summer pastures. products1 Yarn, jumpers, mittens, socks, scarfs, curtains, pillow cases and blankets. products2 For daily use as clothing or interior dressing, and meat for consumption. products3 They are sold in businesses of the area interested in selling handcrafts to tourists, such as Lofotr Viking Museum. The yarn is sold in yarn stores throughout the country. Besides this, some exclusive businesses order textiles for interiors (Hotels and tourist business). There is also a shop in the farm and they have an online shop in their website. products4 Eventual workshops for learning how to use the yarn. Workshops for learning how to dye with plant dyes and visits to the farm. products5 Yes, but they have been rarely used. products6 Tourist that want to have high-quality local products, particular that knit themselves. Local businesses such as shops and hotels. The online shop sells directly to customers worldwide. products7 They have their own hand-made tags with information about the sheep breed and the kind of natural dye used to color the yarn, but no official certifications. tourism1 They have some tourist-oriented selling points (Ie. Lofotr Viking Museum). Many people going to the museum and buying products there also go to visit the farm afterwards. They also buy directly in the farm shop. A popular product loved by the America tourists are the Norwegian sweaters. Workshops and visits to the farm are also offered under request. Tourists come from the whole world to Lofoten, where the workshop is located. The greater bulk of tourists is European, with a majority of Germans. Local national tourists are also generously represented. tourism2 Ullturisme er da jo veldig stor i veldig mange andre land. Du kan dra til Scotland, Island, Farøyene og Ytre Hebridene og overalt så er det mye fokus på ull og sau, og hvor viktig sauen har vært for mennesker her i nord. Men det gjør vi veldig lite her i Norge. Når jeg får tid, vil jeg får gjort det. partnership The collaborate with the local farmers that bring wool for them, wool shearers, the husflidlaget, knitting festivals,the slaugtherhouse, and other artisans of the area. They are members of creative associations such as the Norske Kunsthandverkerer and Norske Billedkunstnerer as well as farmer associations such as Småbrukerlaget, Bondelaget and education groups such as Utdanningsforbundet. With Norske Kunsthandverkerer they actively collaborate in artistic exchanges and exhibition projects. They also collaborate with academia in a project in Tingvall with the Norwegian Institute of Bioeconomic Research called "Amazing Grazing". It researchs sheep farming as a sustainable industry for Norway, analysing the impacts in the landscape, climate and economy of the processes involved in farming, and the long-lasting life of derivates such as wool textile. challenges1 One of the challenges is to get the wool and prepare it for selling. There are no local wool preparation plants, so she has to send the locally sourced raw material and send it to a cleaning plant. After that, the wool is send to the workshop and crafted into yarn and the other products. The combination of the farm managing and modern life is also challenging, specially in the areas where people have their holyday houses (hytte), and carry on with modern lifestyles, while the sheep need the space to graze unfenced. There are also economic challenges since the sheep farming does not generate a lot of money. challenges2 Det er jo veldig få som klarer å lage penge på å jobbe med sau i Norge nå. Så det er en stor spørsmål: hva gjør vi mellon brukerer videre? hvordan... hvor får vi maten fra? hvor får vi klærne våres fra? Hva er viktigst? Skal vi bygge ut og bygge ned oss natur eller skal vi letter etter forbinde her og levelige kår? references https://lofoten-wool.no/en https://www.nibio.no/prosjekter/amazing-grazing-baerekraftig-kjott-og-ull-fra-sau-som-beiter-i-norsk-utmark?locationfilter=true https://www.smabrukarlaget.no/aktuelt/bonde-og-smaabruker/, https://www.norskekunsthandverkere.no/kunstnerregister/ragnhild-lie https://husflid.no/ https://www.utdanningsforbundet.no/ https://www.bondelaget.no/ Esther Haukeland, Innføring til plantefarging. Cappellen, 1982. Animalia: Norwegian wool Standard. https://www.animalia.no/no/Dyr/ull-og-ullklassifisering/norsk-ullstandard/ Beder, Nicolina J., Seyður Ull Tøting. SPF. Sprotin, 2010. Flååt, Inger. Votter i Namdalen. Nauma Husflidslag, 2010. Grimstad, Ingun K. and Sårdal, Tone t. Norsk Strikkehistorie. Vormedal Forlag. 2018. Grimstad, Ingun K. and Sårdal, Tone T. Ren ull. Aschehoug, 2013. Hrútaskrá. https://www.rml.is/is/kynbotastarf/saudfjarraekt/hrutaskra Joensen, Robert. Seyðabókin. SPF. Sprotin, 2015. Johnston, Elizabeth and Juuhl, Marta K. The warp-weighted loom. Kljásteinavefstadurinn: kljásteinar klingja. Oppstadveven: klingande steinar. Skald, 2016. Kjellmo, Ellen. Båtrya i gammel og nyt tid. Orkana, 1996. Sundbø, Annemor. Usynlege Trådar i Strikkekunsten. Samlaget, 2006. https://www.norskebilledkunstnere.no/ Social Media The social media links. facebook,https://www.facebook.com/lofotenwoolranch?locale=nb_NO;instagram,https://www.instagram.com/lofotenwool?igsh=MXQxcTNxZjBmZDM2Mw==; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Lie,_Ragnhild Shop https://lofoten-wool.no/collections/all Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ragnhild Lie 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 1966 Language A language of the resource Norwegian Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 400 Spatial Coverage Spatial characteristics of the resource. current,68.1490556685704,13.7622515654953; Source A related resource from which the described resource is derived artisans,lofotenmap Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Norway Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Lie, Ragnhild 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://lofoten-wool.no/en https://culturality.museum/omeka/files/original/34272d3622ca8cd49d4db09335395e67.mp4 e4f2066aa52eb15884e2a66fea266ae3 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. DescriptionEN English Description Interview with Ragnhild Lie Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MN_PR_01 Type The nature or genre of the resource Moving Image Description An account of the resource Interview with Ragnhild Lie Contributor An entity responsible for making contributions to the resource iain License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-05 Spatial Coverage Spatial characteristics of the resource. current,68.1490556685704,13.7622515654953; 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. Elisabeth Rosa Brusin https://culturality.museum/omeka/files/original/95ecf5fbbafdcfc9ff253b93656f3f60.mp4 93a74b09690136807011f5d2bbf719cd 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. DescriptionEN English Description Maria Pérez en su taller de Villaviciosa Dublin Core The Dublin Core metadata element set is common to 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_PR_03 (02) Type The nature or genre of the resource Moving Image Description An account of the resource Maria Pérez en su taller de Villaviciosa Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-07 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/2c1d986df111800e95938e7479bc68da.mp4 a47790678fa0ae85445890945f8c84d1 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. DescriptionEN English Description Maria Pérez en su taller de Villaviciosa Dublin Core The Dublin Core metadata element set is common to 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_PR_03 (01) Type The nature or genre of the resource Moving Image Description An account of the resource Maria Pérez en su taller de Villaviciosa Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-07 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/LAPONTE_PR_03_01_.mp4 Artisan An artisan Contact mariaperezazabache@hotmail.es Author iain Email The email address of the museum. mariaperezazabache@hotmail.es Phone The phone number 605 01 27 70 Prim Media 682 Biographical Text Maria has been a master jet artisan for 30 years. She started as a jeweler, but nowadays, working with jet is more important. External ID LAPONTE_PR_03 Knowledge Acquisition Jet came into the artisan’s life by chance. She was starting out in jewelry making, and after settling in the village, Néstor Costales (the last master artisan of Argüeru) gave her a small raw jet stone. From that moment on, she began to get her hands dirty with it, and jewelry took a back seat. She taught herself how to work with the mineral, and after many years of practice, she has ended up teaching others Knowledge Transfer Yes, she conducts jet carving workshops in her museum-shop in Villanueva Field Worker Carmen Pérez Maestro Gender female Area Relation incomer Area Reason She was born in the city of Gijón, but since 1997, she has been living in a small village with 15 inhabitants called La Madrera Occupation fibre and textile crafts Involvment full-time paid job knowledge1 It is essential to recognize that the raw material is authentic Jurassic jet, understand its characteristics, and be familiar with the carving techniques. material1 She works with jet and silver.Sometimes she uses other gemstones to create her pieces. material2 The jet is local, and the silver is foreign material3 The stone is fully utilized production1 She applies jewelry techniques to work with jet. Cutting, carving, and polishing are the processes followed to work the stone production2 She works with dental prosthetic tools, which operate with a micromotor, such as diamond discs and tungsten carbide burs production3 There is no special relationship with the tools. Although her favorite tools are the diamond disc and the thickest carbide bur. production4 Electricity production5 During the jet carving process, a very fine brown dust is generated. This is absorbed by small electric vacuum cleaners while working workshop Maria has a workshop in her house in the village, but she also has an educational space (in the form of a small museum), a learning area, and a shop in Villaviciosa products1 Unique jewelry pieces with precious metals, jet from Asturias, and other gemstones. Rings, pendants, necklaces, earrings, rosettes, bracelets, etc products2 For sale products3 In person at the store in Villaviciosa products4 Educational classroom-museum, workshops and jewelry for sale products5 It's not something that happens regularly, but there have been people who have brought her objects to repair products6 The people who attend the regular workshops are usually locals, while those who visit the educational classroom-museum are typically outsiders. People of all kinds purchase her jewelry products7 All the pieces that leave her shop come with a certificate stating that they are made with authentic Asturian Jurassic jet, handmade, and are unique pieces. However, it is not an official label, but rather one issued by the artisan herself. tourism1 The relationship she has with tourism is educational, as the place she has in the village houses an educational classroom-museum that is visited by both domestic and foreign tourists tourism2 "El azabache esta relacionado con el turismo por que es un bien cultural y es de la zona y la conjunción que hay en el local de Villaviciosa con tienda exposición y talleres de la asociación es lo que utilizamos para difundir y dar a conocer el azabache" partnership She is the president of the association 'Jurassic Jet of Villaviciosa,' which was founded in 2017 after serious disagreements with the jet artisan guild and in response to the uncontrolled invasion of foreign materials replacing genuine jet. The association is made up of artisans, geologists, gemologists, botanists, biologists, archaeologists, researchers, and others... in short, defenders of authentic jet and its cultural heritage. Their interest is investigative, educational, and informative. She collaborates with the University of Oviedo in their university extension courses challenges1 The challenges faced by this sector, from the lack of raw materials to the urgent need for training and greater institutional support.The high-quality Asturian jet, originating from Jurassic protopine trees and unique for its physical properties, is in a critical situation due to the scarcity of raw material. It has reached the point where artisans are forced to search through rubble piles since its extraction is not permitted. Another challenge facing the industry is the unfair competition from materials sold as jet, which in reality, are not. María Pérez insists that it is vital to differentiate authentic Asturian jet from lignite coming from Bulgaria or Argentina, which dominates the market. Lastly, there is the challenge of the continuity of the craft, as without raw material, it cannot continue challenges2 "La declaratoria de Bien de Interes Cultural (BIC) del azabache no es suficiente, hay que dar más pasos, determinar verdaderamente lo que es y no que no es (el verdadero azabache)". references http://www.azabachejurasico.com/ https://www.lne.es/villaviciosa/2025/01/15/cultura-azabache-joya-asturiana-lucha-113396508.html https://pegadosalatierra.elcomercio.es/maria-perez-maestra-azabachera-villaviciosa/ Social Media The social media links. facebook,https://www.facebook.com/Azabache.maria.perez;instagram,https://www.instagram.com/maria.perez.azabache/; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/María_Pérez Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource María Pérez 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 70´s Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 399 Spatial Coverage Spatial characteristics of the resource. current,43.480178,-5.43423190753304; Source A related resource from which the described resource is derived artisans 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. María Pérez https://culturality.museum/omeka/files/original/96cdd3c22bd13836edaf7c93bc9e4c8d.jpg b13b1daf3b570e518978cde10d6f14c3 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. DescriptionEN English Description Maria Pérez en su taller de Villaviciosa Dublin Core The Dublin Core metadata element set is common to 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_PR_03 (01) Type The nature or genre of the resource Still Image Description An account of the resource Maria Pérez en su taller de Villaviciosa Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-07 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Artisan An artisan Contact moranarqueologo@gmail.com Author iain Email The email address of the museum. moranarqueologo@gmail.com Prim Media 678 Biographical Text He earned a degree in Geography and History from the University of Oviedo in 2001. He began his professional career as a researcher at the Universidad Autónoma de Madrid before transitioning to professional archaeology, where he participated as a technician in various research projects. Simultaneously, he trained in pottery at the last and oldest pottery workshop in Asturias, located in Faro, Oviedo/Uviéu, with the goal of preserving this traditional craft from extinction. Currently a PhD student at the University of Oviedo, his research focuses on the ethnographic and archaeological study of medieval pottery. He is a member of the Social Landscapes (LANDS) research group and the Llaboratoriu Rural del Paisaxe, Hestoria y Patrimoniu (LLABOR) at the University of Oviedo. He currently teaches ceramics at the Factoría Cultural de Avilés, a multidisciplinary arts center. External ID LAPONTE_PR_02 Knowledge Acquisition He began learning at the ceramics school in Avilés and then acquired his knowledge in the workshop of José Manuel Vega "Selito," where he worked as an apprentice for years. Knowledge Transfer He teaches some of the techniques used in the tradition of Faro ceramics in his classes at the Cultural Factory of Avilés Field Worker Carmen Pérez Maestro Gender male Area Relation incomer Area Reason Orlando was born in Gijón, which is about 30 km from Faro Occupation ceramics Involvment full-time paid job knowledge1 he knowledge involved in the preparation and processing of clay, the potter's wheel for creating ceramic pieces, surface treatments and glazes, and the use of the kiln for firing the ceramics. material1 Clays are extracted from the village of Faro itself, where there are two main types: black clay for unglazed pieces and red clay for glazed ceramics. The fuel used in the past was firewood, but now it is gas. material2 Clays are extracted from the village of Faro itself material3 In pottery, no waste is generated. production1 The most important technique is the creation of the ceramic piece using a foot-powered potter's wheel. production2 A metal knife or plate to shape the ceramic piece, a wire for cutting, a punch, small wooden tools, and the "trapadoriu," which is a leather pad used to shape the edges of the ceramic piece. He uses a foot-powered potter's wheel and a gas kiln. production3 The "trapadoiru" is a tool that gives a unique identity to the ceramic pieces of Faro. This name even appears in traditional Asturian ballads and songs. production4 Gas production5 In pottery, no waste is generated. All the leftover raw material is recycled into a new ceramic piece. workshop For the creation of traditional Faro pottery, Orlando works in the workshop of his teacher, Selito. For pottery classes, he has his own classroom at the Cultural Factory of Avilés. products1 From black ceramics, he manufactures pieces for domestic use. That is, containers for liquids and food, and for cooking: the barbón (a three-handled pitcher), the penada (a ceramic vessel with a very narrow mouth to allow the drink to pour out slowly), the cider jug (a traditional Asturian drink made from apples), the cheese container (quesera), and the cooking pot (cazuela). In glazed ceramics, he makes cider jugs, plates, deep bowls (escudillas), and water pitchers (botijos). products2 Orlando has always created ceramic pieces as a personal satisfaction and to preserve the tradition. products3 Selling them is challenging because many pieces are very large, and transporting them is difficult for tourists. Some of the pieces that are made are sold at fairs or online. In the past, the government had stores called "Arte España," which were even located in airports, and a lot was sold there, but this has since disappeared. products4 He has a paid job as a ceramics teacher at a municipal vocational school. Apart from that, he does not offer any services related to the profession of ceramics. products5 No products6 Orlando does not have regular clients. products7 The traditional ceramics of Faro do not have any official certification. It also does not have any geographical protection status. The area where it is produced does have a level of heritage protection under the Asturias Heritage Law, including the kilns, Selito's workshop, and the archaeological evidence related to this tradition. tourism1 Orlando has no connection with tourist activities. partnership He is a member of the "Xunta por la defensa de la alfarería de Faro," an association dedicated to defending and promoting Faro pottery, ensuring it maintains its traditional characteristics. challenges1 It is difficult to survive economically from traditional ceramics because direct sales are very limited, and artisans have to take on other jobs, which leaves them with little time for online marketing. challenges2 Es necesario de una administración pública haga una escuela de oficios tradicionales, es fundamental que haya tanto un archivo donde se recoja la mayor documentación posible…un sitio que recoja todos los conocimientos y enseñanzas y que las trasmita…Puede ser en una zona rural que ademas dinamizara la zona, creara puestos de trabajo para los artesanos que con la docencia y la artesania se podrian sustentar references https://www.nortes.me/2022/06/04/faro-la-alquimia-del-barro/ https://www.youtube.com/watch?v=I_FpkQ5c6jM Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Morán_Fernandez,_Orlando Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orlando Morán Fernandez Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1970s Language A language of the resource Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 398 Spatial Coverage Spatial characteristics of the resource. current,43.355833,-5.794167; Source A related resource from which the described resource is derived artisans,asturiasmap,people 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. Morán Fernandez, Orlando https://culturality.museum/omeka/files/original/0edba4c4c88ec048dabfee2e6594e021.mp4 976085c147722c59b62db065894517f3 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. DescriptionEN English Description Interview with Orlando Morán Dublin Core The Dublin Core metadata element set is common to 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_PR_02(02) Type The nature or genre of the resource Moving Image Description An account of the resource Interview with Orlando Morán Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-19 Spatial Coverage Spatial characteristics of the resource. current,43.355833,-5.794167; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/LAPONTE_PR_02_02_.mp4 https://culturality.museum/omeka/files/original/c0443e888ab5504e3172a2aa34c27eff.mp4 827dc9d8e971ec0c03e440479e9a9338 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. DescriptionEN English Description Interview with Orlando Morán Dublin Core The Dublin Core metadata element set is common to 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_PR_02(01) Type The nature or genre of the resource Moving Image Description An account of the resource Interview with Orlando Morán Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-19 Spatial Coverage Spatial characteristics of the resource. current,43.355833,-5.794167; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/4d28e875ac4231cf0862aea4f0e1c7be.jpg 8fcbecacfa5f3153b2de20e85a30bd5f 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. DescriptionEN English Description Orlando Morán in his workspace at the Cultural Factory of Avilés Dublin Core The Dublin Core metadata element set is common to 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_PR_02(01) Type The nature or genre of the resource Still Image Description An account of the resource Orlando Morán in his workspace at the Cultural Factory of Avilés Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-19 Spatial Coverage Spatial characteristics of the resource. current,43.355833,-5.794167; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Artisan An artisan Contact hola@woodic.es Author iain Email The email address of the museum. hola@woodic.es Prim Media 666 Biographical Text Born in Laviana, Asturias in 1976. Designer and ceramist. Graduate in Fine Arts, specialising in Design, from the University of Barcelona and a Higher Graduate in Artistic Ceramics from the School of Arts and Crafts of Barcelona, Llotja, San Andreu. In the village of El Valle, in Candamo, she created a design workshop in ceramics and wood, materials that give name to her brand WOODIC, in which she designs and creates unique and totally handmade pieces in a commitment to honest designs based on the feminine imaginary, mythology and the forms of nature.She is also a dynamiser of the rural environment through workshops and activities. External ID LAPONTE_PR_01 Knowledge Acquisition At the University, she is Graduate in Fine Arts, specialising in Design and Higher Graduate in Artistic Ceramics. Knowledge Transfer Yes, she is currently running workshops in hand and slow wheel pottery for adults and children. These are introductory classes to try out techniques and develop pieces that he teaches in hes rural studio. He also conducts kintsugi workshops, the Japanese art of soldering pieces of ceramic fragments with gold. Field Worker Carmen Pérez Maestro Gender female Area Relation incomer Area Reason Although the craftswoman is Asturian, she is not from the specific place where she lives and has her workshop Occupation ceramics Involvment full-time paid job knowledge1 Design and pottery manufacture material1 Mainly plaster for prototyping and white earthenware for the final objects. Some of her creations include wicker, woven by a local craftsman. material2 The clay is bought on the internet and does not know its origin. Many of the glazes she used were imported from the UK, but because of Brexit the tariffs have risen so high that she can no longer buy them. material3 Ceramic is 100% recyclable. The residues of each piece produced are reused in another piece, even with the fragments of broken objects he has made mosaics for reuse. production1 She works with plaster moulds whose prototypes he designs digitally. She makes 3D prints of the moulds and then manufactures the piece using the casting clay technique. Casting clay consists of pouring liquid clay into a plaster mould. This mould absorbs the water, leaving a layer of clay in a solid state. For the surfaces, he uses different treatments, such as engobes or glazes. Ceramic objects are fired in the oven. She produces some objects hybridising ceramics and vegetable fibres braided by another craftsman. production2 Use the computer to create the designs, the 3d printer to make the plaster moulds, the roller, knife, and wooden tools to process the clay. He also uses the potter's wheel. production3 He takes special care of his tools, because if, for example, the potter's wheel breaks down, there is no one around to fix it. His favourite tool is the knife, with which he has a ‘love-hate’ relationship. When she was a student she stuck it in her hand, but she likes it very much because it is a specific tool of a potter's craftswoman. She also loves the potter's wheel. She has three, two to teach and one to work on her own. production4 Electricity production5 Ceramic is 100% recyclable. The residues of each piece produced are reused in another piece, even with the fragments of broken objects he has made mosaics for reuse. lead is no longer used for enamels because it is a pollutant. Sometimes gold is used, and the plastic containers are deposited with a label in specific places for this purpose. workshop The working and workshop space is the same. It is a small building with large windows and a mezzanine inside, built next to the artisan's home. It has an approximate internal size of approximately 35 square metres. In the central part of the lower floor there is a large wooden table and on the sides there are shelves with objects made by the artisan and her students, as well as moulds, clay and tools. products1 Artistic objects for sale to the public (vases, plates, lamps), objects commissioned by individuals or companies (e.g. award trophies, personalised objects, branding etc.). products2 Firstly as a creative experience for the craftswoman and secondly as an economic livelihood. products3 Basically she sells through her website. She also receives many commissions because her pieces have been seen at fairs and exhibitions. products4 She offers workshops to learn how to make ceramic objects and kintsugi workshops for small groups. She also offers an activity called ‘create memories’, where babies' handprints are put on ceramic plates.It also offers the Family day for a specific pottery workshop for the family and the Clayparty to celebrate anniversaries or birthdays. products5 Yes products6 Individuals and companies products7 No tourism1 Yes, because she considers her workshops as part of a cultural tourism offer. Both domestic and foreign tourists participate in these workshops. tourism2 El espacio es una oferta turistica cultural en la que se valora procesos y lo que se hace en los entornos rurales de una forma respetuosa…asi nos apoya de manera económica pero también nos ayuda a generar redes. " partnership She is a member of the group of ceramists of Asturias, of Nexodos (a contemporary creation collective that develops projects linked to peripheral territories, the enhancement of alternative spaces and the promotion of new formats for citizen participation) and collaborates with several public institutions such as the city council and ‘el Camin real de la Mesa’ (a local development group). Its very important for her to create a network of rural women and she is very interested in getting involved in research projects both in universities and museums. challenges1 The biggest challenge is the transfer between generations, both for life in rural areas and for the profession. The biggest challenge is generational renewal, both for rural life and for the profession. Natalia also calls for academic training spaces, where young people are trained in rural areas. challenges2 necesitamos una escuela de arte, una escuela de artesanía, una universidad rural…necesitamos un espacio donde la gente joven venga a formarse en lo rural references https://nexodos.art/natalia-suarez-woodic-nexodoscandamo2024/ https://www.elconfidencial.com/empresas/2024-09-19/natalia-suarez-woodic-bra_3954222/ Social Media The social media links. facebook,https://www.facebook.com/woodic.es;instagram,https://www.instagram.com/woodic.es/; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Natalia_Suárez Shop https://woodic.es/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 Natalia Suárez 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 1970s Language A language of the resource Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 397 Spatial Coverage Spatial characteristics of the resource. current,43.461498,-6.039444; Source A related resource from which the described resource is derived artisans,asturiasmap Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Natalia Suárez 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://woodic.es/ Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain https://culturality.museum/omeka/files/original/3e620e835b5861139f6977e9361c63b2.mp4 037ad85ee99c2c583a552b88445c1deb https://culturality.museum/omeka/files/original/b7a01ea56ecd9c9dfa0f7a4350381ec6.mp4 987deb10f332bf5c9697689bea85e480 https://culturality.museum/omeka/files/original/18e55b551248ffe6e56ee28bb842c66c.mp4 ae08de93be8a0e07e9b8f496d4fa1c4c https://culturality.museum/omeka/files/original/280b5d6ef0c115e9dc16b94aee120023.mp4 692129c439e16d076ccb7b19d60792ed https://culturality.museum/omeka/files/original/1d4fc65f1f2f32833f19397a4b16755a.mp4 65b1f8d775f397cf24d85306a4c74bce https://culturality.museum/omeka/files/original/f2aeee2fd32889c435dd5ffc08533ad6.mp4 2189d4e5a0d5e191723fe5efb81bd531 https://culturality.museum/omeka/files/original/ea8b0b0b989a8941c980c365a8f01535.mp4 aa8934cd4781a42b1573c94a0a62ff87 https://culturality.museum/omeka/files/original/79bbc4567ac97aafdcfcf4fd13cf6441.mp4 8f032bafcc7d5bd43f25c26de504cc74 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. DescriptionEN English Description Natalia Suárez making a vase Dublin Core The Dublin Core metadata element set is common to 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_PR_01(03) Type The nature or genre of the resource Moving Image Description An account of the resource Natalia Suárez making a vase Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-23 Spatial Coverage Spatial characteristics of the resource. current,43.461389,-6.039444; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/LAPONTE_PR_01_03_.mp4 https://culturality.museum/omeka/files/original/5164f419b61a4d65a00f5fdb7a841131.mp4 226803289ec3971bf9b331c10e82f0f3 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. DescriptionEN English Description Interview with Natalia Suárez Dublin Core The Dublin Core metadata element set is common to 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_PR_01(02) Type The nature or genre of the resource Moving Image Description An account of the resource Interview with Natalia Suárez Contributor An entity responsible for making contributions to the resource iain License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-03 Spatial Coverage Spatial characteristics of the resource. current,43.461389,-6.039444; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/6a170577b7c6da59a8b83e3b6abdd9a9.mp4 168f28c61cdfd0052a68972697dfebc0 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. DescriptionEN English Description Interview with Natalia Suárez Dublin Core The Dublin Core metadata element set is common to 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_PR_01(01) Type The nature or genre of the resource Moving Image Description An account of the resource Interview with Natalia Suárez Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-03 Spatial Coverage Spatial characteristics of the resource. current,43.461389,-6.039444; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/c6d1977319cdc9d74d88e49d25ee4a3f.JPG 71f97e66d0325d8f3f23e23779dc6ce3 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. DescriptionEN English Description Natalia Suárez's set of tools and creations Dublin Core The Dublin Core metadata element set is common to 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_PR_01(08) Type The nature or genre of the resource Still Image Description An account of the resource Natalia Suárez's set of tools and creations Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-03 Spatial Coverage Spatial characteristics of the resource. current,43.461389,-6.039444; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/a9b67d6182acdad7104666bfbbbd1ec5.JPG c07ba94155eccd8bcdb4eec0386b2ec3 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. DescriptionEN English Description Natalia Suárez outside the workspace Dublin Core The Dublin Core metadata element set is common to 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_PR_01(07) Type The nature or genre of the resource Still Image Description An account of the resource Natalia Suárez outside the workspace Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-03 Spatial Coverage Spatial characteristics of the resource. current,43.461389,-6.039444; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/f4d6df26354e2b276a91965bbdc9b23b.JPG afeb74440e18d93a84e842d30a79890b 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. DescriptionEN English Description Natalia Suarez inside the workspace Dublin Core The Dublin Core metadata element set is common to 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_PR_01(06) Type The nature or genre of the resource Still Image Description An account of the resource Natalia Suarez inside the workspace Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-03 Spatial Coverage Spatial characteristics of the resource. current,43.461389,-6.039444; 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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Title A name given to the resource LAPONTE_PR_01(05) Type The nature or genre of the resource Still Image Description An account of the resource Outside of the workspace Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-03 Spatial Coverage Spatial characteristics of the resource. current,43.461389,-6.039444; 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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Title A name given to the resource LAPONTE_PR_01(04) Type The nature or genre of the resource Still Image Description An account of the resource Outside of the workspace Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-03 Spatial Coverage Spatial characteristics of the resource. current,43.461389,-6.039444; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/e8ea9853db99264e01e183b3eb085588.JPG 86076489d0441ddb9bdf5e0be0223e3a 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. DescriptionEN English Description Interior of the workspace Dublin Core The Dublin 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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Title A name given to the resource LAPONTE_PR_01(02) Type The nature or genre of the resource Still Image Description An account of the resource Interior of the workspace Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-03 Spatial Coverage Spatial characteristics of the resource. current,43.461389,-6.039444; 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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Title A name given to the resource LAPONTE_PR_01(01) Type The nature or genre of the resource Still Image Description An account of the resource Interior of the workspace Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-03 Spatial Coverage Spatial characteristics of the resource. current,43.461389,-6.039444; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/fa92783b3df1b6648f6c0d0fbcd7a010.mp4 18234d1a54a4b651d53333c6d4c8b87b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Intangible:Weaving Identifier An unambiguous reference to the resource within a given context 663 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. DescriptionEN English Description Anuta Stan, weaver of Săpânța presenting the steps of wool weaving Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource CJMM_CP_02_weaving Anuta Stan Type The nature or genre of the resource Moving Image Description An account of the resource Anuta Stan, weaver of Săpânța presenting the steps of wool weaving Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024_12_14 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. 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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. DescriptionEN English Description Anuta Stan, weaver of Săpânța presenting the steps of wool weaving Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource CJMM_CP_02 Type The nature or genre of the resource Still Image Description An account of the resource Anuta Stan, weaver of Săpânța presenting the steps of wool weaving Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024_12_14 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Marius Muresan Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context Weaving as many of the cultural practices in a small community, represented just another opportunity to gather the community and enhace social bounding. Field Worker Noemi Ganea Climate Threats Loss of biodiversity Economic Threats Insufficient renumeration,Rapid economic transformation Technological Threats Industrial production Demographic Threats Rural-urban migration Decontextualization Misappropriation Globalisation Rapid sociocultural change Weakened Practice Aged practitioners,Diminishing youth interest,Reduced practice Loss Threats Loss of cultural significance Climate Actions Community Engagement SDG Responsible Consumption and Production External ID CJMM_CP_02 Knowledge Manual weaving in Maramureș is a deeply rooted tradition that requires a combination of technical skills, artistic creativity, and cultural knowledge. This practice, passed down through generations, involves intricate techniques and an understanding of natural materials, patterns, and symbolic motifs. Weavers must master both the mechanical aspects of loom operation and the creative elements of textile design while preserving and passing on this valuable tradition to future generations. Knowledge Transfer It can be a family tradition passed on from generation to generation, usually on the maternal side of the family,also the skill that can be acquired and mastered during the community meetings ( the so called sezători, especially in the winter when there is less fieldwork to be undergone), and nowadays there are courses available in craft schools/organizations. Practitioners Especially women had the responsiblity of learning and transmitting this cultural practice, but also men were involved in the process of wool processing and in some cases also worked alongside their wives. Anuța Stan, the weaver interwied by our team acknowledged that her husband is helping her weaving to be more productive. Function Weaving fosters a sense of belonging and shared cultural identity, as it is often a community-driven activity passed down through generations. Local festivals, workshops, and artisan markets provide spaces for weavers to interact, share knowledge, and preserve traditional techniques. The craft reinforces regional identity, as Maramureș weaving patterns and styles are distinct and recognized as part of Romania’s cultural heritage Older generations play a key role in teaching younger family members, ensuring that weaving remains a living tradition. Many artisans continue to weave for economic sustainability, selling handmade textiles in local and international markets. The resurgence of interest in eco-friendly and slow fashion has increased the demand for ethically made, handwoven products, supporting local artisans. Organisations Weaving is one of the oldest practices in the area of Maramureș, practitioners are proud to use generation transmitted tool. They practice it as a source of income by selling their products, usually their workshops are on the premises of their homes. Places Local authorithies and regional authorities became lately aware of the fragility of these practices, consciously promoting craftmen and practices . There are folk art schools and craftmen organisations that activate in conservation and promotion of these crafts, but NGOs are usually the strong voices behing the craftmanship. Artefacts The tools used are the loom (război de țesut) more that 100 years old in lour case, reel (crâng/vîrtelniță), carder (rășchitor), sley (sucală), warp (urzoi), spindle (fuse), spinning wheel for a thicker type of wool (drugă/fuior). The weavers produce a large ranhge of products, but in our case the practitioner interviewed produces: traditional bags ( traistă), blankets (cergi) and carpets Climate Threats Description lack of first hand raw material Technological Threats Description industrial production impacts slow hand made production Policy Threats Description there are no policies/strategies or action plan that directly address the issue of conservation and promotion of traditional cultural practices. Demographic Threats Description small community, younger generation preffer the opportunites of living in the urban area where authentic cultural practices are difficult or unappealing to be practiced Decontextualization Description The availability of mass produced, in many cases fake products that have attractive prices, can affect the interest for genuine hand made authentic products Globalisation Description it is difficult to addapt adapt traditional cultural prectices to an everchanging socio cultural environment. Weakened Practice Description the practice is not appealing to younger generations Loss Threats Description The ever changing cultural environment might disconsider the significance of traditional cultural practices. State of the practice declining Social sustainability All small scale cultural practices positively impact the social cohesion of the community Environmental sustainability The practitioner uses locally sourced wool, having zero waste ( even lower quality wool is being repurposed), natural dyed colors from plants are used without impacting the enviroment, considerable manual work involved. Economic sustainability The practice has low economical impact, but it is still used by the practitioner as a source of primary income. Place The town or city Săpânța, Maramureș Place Description Săpânța village is situated on the right bank of Tisa, next to Valea Tarasului, close to the confluence of Săpânța and Tisa rivers, in the extreme north of Romania, where Maramureș County, borders Ukraine. Prim Media 664 Domains fibre and textile crafts Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Weaving Type The nature or genre of the resource Intangible Description An account of the resource .Săpânța is not a common village, precisely because it holds on its territory a rare treasure, hard to value in money or words – CIMITIRUL VESEL (THE MERRY CEMETERY). The Merry Cemetery of Săpânța – globally unique and world value monument, where tomb’s crosses are not only guarding the graves, but they are also explicitly speaking in words. The Merry Cemetery of Săpânța, where the epitaphs, unique in the word, show the richness and originality of the Romanian life philosophy and the Romanian mentality of thinking lively and authentically even about after-life things. Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 396 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Memoria Ethnologică: https://www.memoria-ethnologica.ro/articole/page/98/ Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 12/06/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. A țăse Spatial Coverage Spatial characteristics of the resource. current,47.966669,23.7; Date Modified Date on which the resource was changed. 15/09/2025 Creator An entity primarily responsible for making the resource 657 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews 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 660 Material Wool dyed with vegetable colours Natural Cultural Cultural Function These items serve both a functional-utilitarian and an informational-aesthetic role.It secures the shirt and skirt of the costume, but it is decorative piece. Creation Purpose In this case the weaver sells these products Technique The weaver uses the loom (război de țesut) more that 100 years old, reel (crâng/vîrtelniță), carder (rășchitor), sley (sucală), warp (urzoi), spindle (fuse), spinning wheel for a thicker type of wool (drugă/fuior) and after the wool material is hand- sewn together. Material Source Locally sourced wool, vegetable colors from local plants like walnut leaves, red onions, privet for black colo Conecept These items serve both a functional-utilitarian and an informational-aesthetic role. For both man and women the belt is a defining part of the shirt, that beyond its functionality, simbolizes the magic protective circle. The women belt that in some areas of Maramures can have a length up to 4 meters it secures both the shirt and the skirt and protects the ones whom wears it from evil, ensuring prosperity and fertility. Production Quality The weaver cand allocate from 1 hour to 2 hours to produce such items. External ID CJMM_AR_02 Field Worker Noemi Ganea Craft fibre and textile crafts Tool loom (război de țesut) more that 100 years old, reel (crâng/vîrtelniță), carder (rășchitor), sley (sucală), warp (urzoi), spindle (fuse), spinning wheel for a thicker type of wool (drugă/fuior) and after the wool material is hand- sewn together Place The town or city Săpânța, Maramureș, Romania Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Traditional women belt Type The nature or genre of the resource Physical Object Description An account of the resource One of the most important manifestations of traditional culture, the result of the creative effort of a whole community and a real brand of identity, is the traditional/popular costume. In Maramures, the most important piece of clothing and the element that establishes the genesis of the Romanian folk costume is the shirt, which synthesizes the most traditional elements and, at the same time, the most numerous artistic elements of ornamentation. For both man and women the belt is a defining part of the shirt, that beyond its functionality, simbolizes the magic protective circle. The women belt that in some areas of Maramures can have a length up to 4 meters it secures both the shirt and the skirt and protects the ones whom wears it from evil, ensuring prosperity and fertility. Date A point or period of time associated with an event in the lifecycle of the resource 2024 Creator An entity primarily responsible for making the resource 657 Language A language of the resource Romanian Extent The size or duration of the resource. 80cm x 7cm x cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 395 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://www.memoria-ethnologica.ro/wp-content/uploads/port-traditional-natalia-lazar-56-71-82-83.pdf Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 12/06/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Brâu Spatial Coverage Spatial characteristics of the resource. current,47.9667699419435,23.6999999964607; Date Modified Date on which the resource was changed. 04/07/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/78eb7a92631127e3da4d20b3ae2e5076.jpg 41b4b8f84910675a8fb55398a6bc686e 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. DescriptionEN English Description Simple wool belt made by Anuța Stan Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource CJMM_AR_02(02) Type The nature or genre of the resource Still Image Description An account of the resource Simple wool belt made by Anuța Stan Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-12 Spatial Coverage Spatial characteristics of the resource. current,47.96676994194350,23.69999999646070; 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. Marius Muresan https://culturality.museum/omeka/files/original/fbdba88d71fef308e78d32965306a3a2.jpg 54f3872fa68cfeccd8e73d7cfd92fefe 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. DescriptionEN English Description Simple wool belt made by Anuța Stan Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource CJMM_AR_02(01) Type The nature or genre of the resource Still Image Description An account of the resource Simple wool belt made by Anuța Stan Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-12 Spatial Coverage Spatial characteristics of the resource. current,47.96676994194350,23.69999999646070; 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. Marius Muresan 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 658 Material Wool dyed with vegetable colours Natural Cultural Cultural Function These items serve both a functional-utilitarian and an informational-aesthetic role. Their purpose and usability distinguish them as trăistuțe (small bags), traiște (larger shoulder bags), and desagi (saddle bags). The variation within this group of items was determined by criteria such as size, color, ornamentation, and the raw materials used. Creation Purpose In this case the weaver sells these products Technique The weaver uses the loom (război de țesut) more that 100 years old, reel (crâng/vîrtelniță), carder (rășchitor), sley (sucală), warp (urzoi), spindle (fuse), spinning wheel for a thicker type of wool (drugă/fuior) and after the wool material is hand- sewn together. A special attention is given to the strap and occasional decorations like fringes if the bag is used for festive occasions. Material Source Locally sourced wool, vegetable colors from local plants like walnut leaves, red onions, privet for black colo Conecept These items serve both a functional-utilitarian and an informational-aesthetic role. Their purpose and usability distinguish them as trăistuțe (small bags), traiște (larger shoulder bags), and desagi (saddle bags). The variation within this group of items was determined by criteria such as size, color, ornamentation, and the raw materials used. Production Quality The weaver cand allocate from 2 hours to 1 entire day to produce such items, ocassionaly she involves family members when commissioned to larger quantity of items, but nevertheless it is not mass production. External ID CJMM_AR_01 Field Worker Noemi Ganea Craft fibre and textile crafts Tool loom (război de țesut) more that 100 years old, reel (crâng/vîrtelniță), carder (rășchitor), sley (sucală), warp (urzoi), spindle (fuse), spinning wheel for a thicker type of wool (drugă/fuior) and after the wool material is hand- sewn together Place The town or city Săpânța, Maramureș, Romania Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Traditional shoulder bag Type The nature or genre of the resource Physical Object Description An account of the resource The components that define the image of the traditional costume are the traiste (shoulder bags) and desagi (saddle bags). These items serve both a functional-utilitarian and an informational-aesthetic role. Their purpose and usability distinguish them as trăistuțe (small bags), traiște (larger shoulder bags), and desagi (saddle bags). The variation within this group of items was determined by criteria such as size, color, ornamentation, and the raw materials used. Based on the materials from which they were made, traiste and desagi could be crafted from hemp, wool, or finely woven wool (lâniță). The way these bags were carried also differed. Trăistuțele and traiștele were worn over the shoulder or diagonally, in a style called "arcește". Desagi, on the other hand, were carried bilaterally, either over the shoulder or across a saddle. They were most commonly made from a single integral piece of fabric. Trăistuțele and traiștele were complemented by baieră, brâu, or bată, which helped support and carry them over the shoulder . These straps could be made by twisting multiple threads together, weaving them with two heddles, or handpicking the patterns. Some trăistuțe and desagi featured pave (folded extensions) that made them more spacious. Trăistuțele were an essential accessory for children, especially for those attending school, as they were used to carry textbooks and other school supplies at the end of the 19th century and the beginning of the 20th century. According to field informants, trăistuțele were also used by children when they went Christmas carolling (colindatul) and New Year’s Eve wishing (uratul), where they collected the gifts offered by the householders as tokens of goodwill and prosperity. Date A point or period of time associated with an event in the lifecycle of the resource 2024 Creator An entity primarily responsible for making the resource 657 Language A language of the resource Romanian Extent The size or duration of the resource. 30cm x 15cm x 23cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 394 Source A related resource from which the described resource is derived craftedobjects Medium The material or physical carrier of the resource. https://www.memoria-ethnologica.ro/?s=traist%C4%83 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 12/06/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Trăistă, trăistută, desagă in Romanian Spatial Coverage Spatial characteristics of the resource. current,47.9667699419435,23.6999999964607; Date Modified Date on which the resource was changed. 04/07/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/7efc3dac67ac944eb0334aacf86129d3.JPG b4f767e952e9a30e303097dfb0926f72 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. DescriptionEN English Description The weaver working on traditional wool shoulder bag in Maramures Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource CJMM_AR_01(01) Type The nature or genre of the resource Still Image Description An account of the resource The weaver working on traditional wool shoulder bag in Maramures Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024:12:12 13:04:32 Spatial Coverage Spatial characteristics of the resource. current,47.96676994194350,23.69999999646070; 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. Marius Muresan Artisan An artisan Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Stan,_Anuța Place The town or city Săpânța, Maramures, Romania External ID CJMM_PR_02 Author iao@st-andrews.ac.uk Field Worker Noemi Ganea Gender female Area Relation native Occupation fibre and textile crafts,artist Biographical Text She is a native of Săpânță, her grandmother introduced her into the practice of weaving at the age of 5, later on when she was 15 she was hired as to work at home within a workers cooperative. She has been weaving within this arrangement for 15 years, and after retiring she continued to supported her family of 3 children alongside her husband. They made a living out this job, creating traditional bags: traistă (in Romanian), carpets (cergi in Romanian), etc. Involvment full-time paid job Knowledge Acquisition Her mother and especially her grandmother taught her the entire process from shearing, scouring, shedding to carding . Knowledge Transfer It is a family practice that she passed on to her daugther Mariana, but she is engaged in public events, promoting her skill to the wide public, making sure that the manual production of wool will not be forgotten Prim Media 514 knowledge1 Dexterity, manual skills and practice material1 She uses first hand wool from the local sheep breeders and occasionaly from outside the region. She uses vegetal colors from plants like walnut leaves, red onions, privet for black color. The long fibers of wool are left white while the shorter yellowish wool will be colored. material2 Locally from breeders most of the time. material3 No leftovers production1 She manages the entire process manually production2 She has the loom (război de țesut) more that 100 years old, reel (crâng/vîrtelniță), carder (rășchitor), sley (sucală), warp (urzoi), spindle (fuse), spinning wheel for a thicker type of wool (drugă/fuior) production3 All her tools that she currently uses have been inherited from her grandmother so they have a personal significance, more than 100 years old. production5 She says that there is no waste in the process workshop Yes, next to her home she has an annex equipped. products1 She produces traditional bags ( traistă), blankets (cergi) and carpets products2 She sells these items making a living out of it products3 She participates to dedicated events like local, regional or national craftsmen fairs, tourism related fairs and she is also available to provide commissioned item products5 No products6 Tourists mainly both national and international that look for souvenirs. products7 No tourism1 Yes, she is often invited to dedicated tourism fairs where is given a live demonstration of her craft tourism2 My hands are my visit card for all those enthusiasts of Maramures partnership She is steady collaborator of the County Council of Maramures especially within national and international events dedicated to the promotion of tourism and of the regional brand challenges1 Access to a wider market, lacking of marketing skills challenges2 I created my entire life, i built up my house and raised my children with the use of my skill, so i am lucky to be able to provide for myself by use my talent and skill that my grand mother passed on to me. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Anuța Stan 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 1961 Contributor An entity responsible for making contributions to the resource iao@st-andrews.ac.uk Identifier An unambiguous reference to the resource within a given context 393 Spatial Coverage Spatial characteristics of the resource. current,47.9667699419435,23.6999999964607; Language A language of the resource Romanian Source A related resource from which the described resource is derived artisans,taralapusuluimap Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Stan, Anuța Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Romania Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Field Worker Noemi Ganea Policy Threats Urban Development Demographic Threats Rural-urban migration Decontextualization Theatrification Globalisation New pastimes Weakened Practice Diminishing participation Climate Actions Community Engagement SDG Gender Equality External ID CJMM_CP_01 Knowledge a good knowledge of the oral patrimony of each area, natural talent Knowledge Transfer it can be transmitted as a family tradition, part of the heritage of each family transmitted from generation to generation, but in Maramures there are local folk art schools that educated potential singers in this area Practitioners In the archaic Maramures society, women were responsible for bearing, cultivating and making sure this practice is further transmitted. Grandmothers, mothers make sure their daughters/granddaughters are educated so that singing, and embracing all types of songs and rituals became part of their cultural heritage. Function Early Preparations: Carolling preparations begin weeks in advance, as children and young people rehearse their songs and create traditional costumes or props. Groups and Routes: The carollers, known as colindători, form groups that travel through villages, stopping at each household to sing. Blessings and Rewards: Hosts welcome the carollers with food, sweets, nuts, apples, and sometimes money as a token of appreciation and blessing for the new year. Types of Carols in Maramureș Religious Carols: Many songs focus on the birth of Christ, the Virgin Mary, and the Nativity. Folk Carols: Some carols reflect local legends, pastoral life, and historical elements of the region. Joyful and Festive Carols: These include songs meant to bring good luck, prosperity, and happiness to the family. Unique Elements of Maramureș Carolling Traditional Costumes: Carollers often wear beautifully embroidered garments specific to the Maramureș region. Wooden Churches and Community Gatherings: Villagers often gather at local wooden churches to celebrate with communal carolling and festive meals. Feciorii Satului: A group of young men known as Feciorii Satului often take the lead in carolling and festive celebrations, ensuring that traditions are passed down. Origins and change Carolling is an opportunity for families to show hospitality by welcoming carollers with food, sweets, or small gifts. The act of giving and receiving reinforces social harmony, mutual respect, and the importance of generosity. 5. Celebration of Identity and Regional Pride Maramureș is known for its strong cultural identity, and carolling is an expression of this. The songs, costumes, and rituals associated with carolling reflect local customs, linguistic expressions, and folk beliefs that distinguish Maramureș from other regions in Romania. 6. Spiritual and Moral Education The themes of carols often include messages of peace, faith, and goodwill. These reinforce moral and ethical values within the community, encouraging virtues such as kindness, respect, and solidarity. 7. Social Entertainment and Festivity Carolling is a joyful activity that adds to the festive spirit of Christmas. It provides a moment of entertainment, music, and socializing, allowing villagers to take a break from daily work and engage in communal celebration. 8. Strengthening Rural Social Structures In smaller villages, carolling strengthens rural social structures by maintaining traditions that encourage participation from the entire community. The hierarchical organization of carolling groups (led by experienced members) reflects and preserves the traditional social order. Organisations Folk Art Schools, local NGO's from traditional areas of Maramures, local authorities that usually organize Christmas dedicated events, the Church (mainly Orthodox) Demographic Threats Description The authentic carolling is practiced mostly in rural Maramureș, while the urban area is less practiced Decontextualization Description Practitioners complain about commercial, losing the authenticity and specificity Globalisation Description Younger generations tend to be less interested in these type of cultural practices Weakened Practice Description The authentic carolling is practiced mostly in rural Maramureș, while the urban area is less practicised State of the practice declining Social sustainability Carolling is a collective activity that unites the entire village during the Christmas season. Groups of carollers travel from house to house, reinforcing relationships between families, neighbors, and generations. This annual ritual fosters trust, cooperation, and mutual support, ensuring strong social ties that sustain rural life. Inclusivity: People of all ages participate, from children to the elderly, creating a shared sense of belonging. Reciprocity and Social Bonds: Households welcome carollers with food, gifts, and warm hospitality, reinforcing community solidarity. Place The town or city Nanesti, Maramures, Romania Place Description Nănești is a village in Maramureș County, Romania, situated within the commune of Bârsana. The village's name has appeared in historical documents in various forms, including Naufalva, Nanfalva, Nanfalua, Nanfalwa, Nonești, and Nanfalu, all derived from the personal name "Nan" and its derivative "Nănești." The first documented mention of Nănești dates back to 1412, when King Sigismund granted the Nănești estate to Ioan, son of Daan from Văncești (now Oncești), and his cousins. For a significant period, Nănești's history was intertwined with neighboring villages such as Oncești and Valea Porcului, collectively forming part of the territory known as "Olacalis Waralia," attested around 1360. Nestled along the Iza River valley, Nănești is flanked by the villages of Bârsana and Oncești. The region boasts a rich natural heritage, characterized by rolling hills, dense forests, and fertile plains. Archaeological excavations in the area have unearthed stone chisels and flint scrapers dating back to the Neolithic era, indicating early human settlement. The social fabric of Nănești reflects the broader cultural heritage of the Maramureș region, renowned for its wooden churches, vibrant folklore, and enduring traditions. The village is part of the commune of Bârsana, which is home to the Bârsana Monastery, a UNESCO World Heritage site celebrated for its distinctive wooden architecture. Residents of Nănești actively participate in traditional crafts, music, dance, and festivals that highlight the region's rich cultural legacy. Historically, Nănești's economy has been predominantly agrarian, with villagers engaged in farming and animal husbandry. The fertile lands along the Iza River support the cultivation of various crops, while the surrounding hills provide ample grazing grounds for livestock. In recent years, there has been a growing interest in rural tourism, leveraging the area's cultural and natural attractions to promote economic diversification. In summary, Nănești is Prim Media 1904 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Carolling Type The nature or genre of the resource Intangible Language A language of the resource Romanian Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 392 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 12/06/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Colinda Spatial Coverage Spatial characteristics of the resource. current,47.8355,24.0132; Date Modified Date on which the resource was changed. 28/10/2025 Source A related resource from which the described resource is derived taralapusuluimap Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews https://culturality.museum/omeka/files/original/33b30bd757765bfa214e631a16bf6fed.kml 6ede82f2cb6831e7bb90831fa1e40195 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: Highlands and Islands Identifier An unambiguous reference to the resource within a given context 434 Geolocated DescriptionEN English Description Highland and Islands shape from https://mapit.mysociety.org/area/135013.html Contains public sector information licensed under the Open Government Licence v3.0. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Highland and Islands Type The nature or genre of the resource Geolocated Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource application/vnd.google-earth.kml+xml Source A related resource from which the described resource is derived highlandandislands License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Description An account of the resource Highland and Islands shape from https://mapit.mysociety.org/area/135013.html Contains public sector information licensed under the Open Government Licence v3.0. Medium The material or physical carrier of the resource. https://mapit.mysociety.org/area/135013.html Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Museum Represents a museum Author iain Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Laboratorio_Biomimético-ARBIO Prim Media 130 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Laboratorio Biomimético-ARBIO Type The nature or genre of the resource Museum Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 391 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. Laboratorio Biomimético-ARBIO Artisan An artisan Author iain Prim Media 129 Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Yolanda_González Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Yolanda González Type The nature or genre of the resource Artisan Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 390 Description An account of the resource One of the areas of the laboratory is ARBIO, dedicated to the production of biodegradable fabrics that the made by kÖs firm of Constantino and Yolanda uses to make some of its pieces. This collaboration is part of the key points of the lab, which seeks synergies with designers, experts, researchers, and the community in general. Constantino learned to sew with his mother and later trained in Fashion and Clothing. Inspired by his research and interest in textile history and historical recreation, he established the made by kÖs brand in 2013, combining traditional inspiration with contemporary designs, after a work of reproducing old pieces based on paintings and photographs with traditional scenes, especially from the 19th century. After a few years, Yolanda joined, who also began sewing with her mother, as well as with her grandmother and her aunts. She is in charge of reproducing the pieces based on Constantino’s model, as well as the more business work, related to suppliers and orders. Her line of garments, with very selected projects, are produced on a small scale and locally, proposing pieces inspired by rural areas, village life and traditional clothing, incorporating current elements to give rise to handmade designer pieces Source A related resource from which the described resource is derived artisans 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. Yolanda González Artisan An artisan Author iain Prim Media 127 Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Constantino_Menéndez Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Constantino Menéndez Type The nature or genre of the resource Artisan Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 389 Description An account of the resource One of the areas of the laboratory is ARBIO, dedicated to the production of biodegradable fabrics that the made by kÖs firm of Constantino and Yolanda uses to make some of its pieces. This collaboration is part of the key points of the lab, which seeks synergies with designers, experts, researchers, and the community in general. Constantino learned to sew with his mother and later trained in Fashion and Clothing. Inspired by his research and interest in textile history and historical recreation, he established the made by kÖs brand in 2013, combining traditional inspiration with contemporary designs, after a work of reproducing old pieces based on paintings and photographs with traditional scenes, especially from the 19th century. After a few years, Yolanda joined, who also began sewing with her mother, as well as with her grandmother and her aunts. She is in charge of reproducing the pieces based on Constantino’s model, as well as the more business work, related to suppliers and orders. Her line of garments, with very selected projects, are produced on a small scale and locally, proposing pieces inspired by rural areas, village life and traditional clothing, incorporating current elements to give rise to handmade designer pieces Source A related resource from which the described resource is derived artisans Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Constantino Menéndez Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain Artisan An artisan Author iain Prim Media 130 Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Manuel_Persa Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Manuel Persa Type The nature or genre of the resource Artisan Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 388 Description An account of the resource Marlén, biodigital architect and Manuel, biodigital designer and craftsman, make up the Laboratorio Biomimético, a project based on biomimesis, that is, on the attentive observation of nature, directly through field trips, or indirectly, with readings and documentaries. Through this observation and profound understanding, they seek to implement the solutions of nature, a designer with thousands of years of experience, to human challenges. Source A related resource from which the described resource is derived artisans Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Manuel Persa Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Norway Artisan An artisan Author iain Prim Media 130 Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Marlén_López Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marlén López Type The nature or genre of the resource Artisan Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 387 Description An account of the resource Marlén, biodigital architect and Manuel, biodigital designer and craftsman, make up the Laboratorio Biomimético, a project based on biomimesis, that is, on the attentive observation of nature, directly through field trips, or indirectly, with readings and documentaries. Through this observation and profound understanding, they seek to implement the solutions of nature, a designer with thousands of years of experience, to human challenges. Source A related resource from which the described resource is derived artisans 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. Marlén López Intangible Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Alfar de Llamas del Mouro Type The nature or genre of the resource Intangible Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 386 Extent The size or duration of the resource. x x Source A related resource from which the described resource is derived artisans Date Modified Date on which the resource was changed. 25/07/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Artisan An artisan Author iain Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Artesanías_Forcinas Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artesanías Forcinas Type The nature or genre of the resource Artisan Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 385 Description An account of the resource The artisan who created the Basket bag item. Source A related resource from which the described resource is derived artisans,asturiasmap 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. Artesanías Forcinas Artisan An artisan Author iain Prim Media 166 Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Monika_Hint Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Monika Hint Type The nature or genre of the resource Artisan Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 384 Description An account of the resource Monika Hint, an student of the University of Tartu Viljandi Culture Academy, runs her own studio, Koordikamber, in Koordi farm in Viljandi county. Collaborating with fellow artisans, local farmers, and hunters, she uses bone, horn, leather, wool, and other natural, often recycled materials to create products that build on and develop further traditional technologies. Source A related resource from which the described resource is derived artisans Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Monika Hint Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Estonia Artisan An artisan Author iain Prim Media 164 Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Stan_Maria Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Stan Maria Type The nature or genre of the resource Artisan Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 383 Description An account of the resource Creates clothes with her mother Dominica Stan. Source A related resource from which the described resource is derived artisans 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. Romania Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Stan Maria Artisan An artisan Author iain Prim Media 162 Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Dominica_Stan Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dominica Stan Type The nature or genre of the resource Artisan Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 382 Description An account of the resource Creates clothes with her daughter Stan Maria. Source A related resource from which the described resource is derived artisans 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. Romania Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Dominica Stan Artisan An artisan Author iain Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Federica_Busani Biographical Text Federica Busani, current Co founder of Cap_able. Prim Media 153 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Federica Busani Type The nature or genre of the resource Artisan Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 381 Source A related resource from which the described resource is derived artisans,images 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. Italy Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Federica Busani Artisan An artisan Author iain Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Rachele_Didero Biographical Text Inspired by a discussion with a UC Berkeley engineer on privacy and human rights at the Fashion Institute of Technology, Rachele Didero developed the idea of combining crafting in fashion and computer science. Subsequently, Rachele met Federica Busani, current Co founder of Cap_able, and together they decided to transform this project into a start-up, a cultural, as well as entrepreneurial, tool to promote a Prim Media 153 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rachele Didero Type The nature or genre of the resource Artisan Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 380 Source A related resource from which the described resource is derived artisans Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Rachele Didero Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Italy Artisan An artisan Author iain Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Paz_Mesa Biographical Text Paz Mesa had her first contact with textile crafts through her mother, who taught her how to spin the wool of her own flock of Xalda sheep; a task that she carried out together with her sisters. They later would give the wool already spun to a cousin who was a weaver, for her to make the garments. However, her work as a professional in the field began two years ago, after an eleven-year training period with different national and international artisans. She works mainly with wool, linen and silk: respectful, biodegradable fabrics, committed not only to the environment, but also to the well-being of animals and workers, as well as to the health of the customer. She tries to promote and disseminate more responsible forms of consumption, basing her brand on issues such as sustainability, ecology, territoriality and a circular, ethical and conscious economy. Prim Media 124 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Paz Mesa Type The nature or genre of the resource Artisan Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 379 Source A related resource from which the described resource is derived artisans Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Paz Mesa Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain Artisan An artisan Author iain Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Rut_Olsson Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rut Olsson Type The nature or genre of the resource Artisan Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 378 Description An account of the resource Rut Orrmalm Olsson, producer of textile handicraft, started at the shop in May 2008 and left the shop three years later. Göran Söderström, goldsmith from Lannavaara, joined us in October 2008. Source A related resource from which the described resource is derived artisans Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Rut Olsson Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Sweden Artisan An artisan Author iain Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Carl-Johan_Lejrin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Carl-Johan Lejrin Type The nature or genre of the resource Artisan Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 377 Description An account of the resource Creates handspun yarn using spinning-wheel. The wool used are from Carl-Joahns own sheep, which are of an older local breed of sheep “Värmalndsfår”. These particular sheep produce a varying wool spanning for qualities used for tapestry to yarn for felting cloth. Apart from the sheering of the sheep, Carl-Johan has done all the prework such as washing, carding, to the spinning, to the finishing treatment. Source A related resource from which the described resource is derived artisans,varmlandmap Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Carl-Johan Lejrin Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Sweden Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Physical Object: Mittens in entrelac Identifier An unambiguous reference to the resource within a given context 775 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 636 Material 3-ply yarn Natural Cultural Cultural Technique Knitting Field Worker Enrique Meléndez Galán Craft fibre and textile crafts Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Fisherman's_3-Ply_Knitted_Gansey Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fisherman's 3-Ply Knitted Gansey Type The nature or genre of the resource Physical Object Description An account of the resource This is a fine example of a traditional 'Helmsdale' patterned fisherman's gansey or jumper, dating back to the mid-20th century. The design features motifs that include the diamond shape of herring nets and the cable patterns reminiscent of rope and rigging. This particular jumper was typically worn on special occasions or Sundays, rather than while at sea. Fisherwomen, who were skilled knitters, created ganseys during their spare time as they awaited the herring catch to arrive at the quayside. Date A point or period of time associated with an event in the lifecycle of the resource Mid-20th century Subject The topic of the resource Art,MARINE LIFE,PEOPLE,SOCIAL HISTORY Contributor An entity responsible for making contributions to the resource melendezenrique@uniovi.es Identifier An unambiguous reference to the resource within a given context 376 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). 09/06/2025 Spatial Coverage Spatial characteristics of the resource. current,58.11668012077829,, -3.6541763990927962; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT textiles Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Physical Object: Mittens in entrelac Identifier An unambiguous reference to the resource within a given context 775 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 636 Material 3-ply yarn Natural Cultural Cultural Technique Knitting Field Worker Enrique Meléndez Galán Craft fibre and textile crafts Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Fisherman's_3-Ply_Knitted_Gansey Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fisherman's 3-Ply Knitted Gansey Type The nature or genre of the resource Physical Object Description An account of the resource This is a fine example of a traditional 'Helmsdale' patterned fisherman's gansey or jumper, dating back to the mid-20th century. The design features motifs that include the diamond shape of herring nets and the cable patterns reminiscent of rope and rigging. This particular jumper was typically worn on special occasions or Sundays, rather than while at sea. Fisherwomen, who were skilled knitters, created ganseys during their spare time as they awaited the herring catch to arrive at the quayside. Date A point or period of time associated with an event in the lifecycle of the resource Mid-20th century Subject The topic of the resource Art,MARINE LIFE,PEOPLE,SOCIAL HISTORY Contributor An entity responsible for making contributions to the resource melendezenrique@uniovi.es Identifier An unambiguous reference to the resource within a given context 375 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). 09/06/2025 Spatial Coverage Spatial characteristics of the resource. current,58.11668012077829,, -3.6541763990927962; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT textiles https://culturality.museum/omeka/files/original/ff865586b51ae9a8fdb5da55ef3b9346.pdf bdef895669498ae2df3b4e9d90060158 PDF Text Text Fisherman's 3-Ply Knitted Gansey Photogrammetry Report. Component Image Data Orientation Report 1. Number of input data 145 2. Registered images count 139/145 3. Points count 137006 4. Total projections 400603 5. Average images per tie point 3.1 CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under Grant Agreement No. 101132628 �Confidence Fig. 1 – Confidence CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under Grant Agreement No. 101132628 �Model Data Poly Report 1. High Poly Triangle count 19373300 2. Low Poly Triangle count 4992 Fig. 2 – High Poly Fig. 3 – Low Poly CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under Grant Agreement No. 101132628 �Texturing Report. Texture Correction Fig. 4 – Before texturing with SP Fig. 5 – After texturing with SP CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under Grant Agreement No. 101132628 �Normal Restoration Fig. 6 – Before Restoration Fig. 7 – After Restoration CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under Grant Agreement No. 101132628 �PBR Textures Fig. 8 – AO, Diffuse, Normal (top), and Roughness (bottom) CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under Grant Agreement No. 101132628 �Blender Report. Mesh Restoration Fig. 9 – Before Mesh Restoration Fig. 10– After Mesh Restoration CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under Grant Agreement No. 101132628 �Rendering Fig. 11 – Rendered image of the final model Fig. 12– Rendered image of the final model (detail) CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under Grant Agreement No. 101132628 �Data Sheet. Data Jumper Site Timespan Museum Origin Helmsdale Creator - Technique Knitting Material 3-ply yarn Date Mid-20th century Purpose of Fishing Production Size - Description This is a fine example of a traditional 'Helmsdale' patterned fisherman's gansey or jumper, dating back to the mid-20th century. The design features motifs that include the diamond shape of herring nets and the cable patterns reminiscent of rope and rigging. This particular jumper was typically worn on special occasions or Sundays, rather than while at sea. Fisherwomen, who were skilled knitters, created ganseys during their spare time as they awaited the herring catch to arrive at the quayside. CULTURALITY · This project has received funding by the European Union’s Horizon Europe research and innovation programme under Grant Agreement No. 101132628 � Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 01_Gansey_Report Type The nature or genre of the resource Text Contributor An entity responsible for making contributions to the resource melendezenrique@uniovi.es Format The file format, physical medium, or dimensions of the resource application/pdf 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 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT 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. Enrique Meléndez Galán 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/01_JumperReport.pdf https://culturality.museum/omeka/files/original/00aa50092e74deab65f04ff6922fa7c1.glb 3b6bb9c6a93d5910079f5390c2595cc9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Physical Object:Fisherman'\''s 3-Ply Knitted Gansey Identifier An unambiguous reference to the resource within a given context 638 3D Object DescriptionEN English Description This is a fine example of a traditional 'Helmsdale' patterned fisherman's gansey or jumper, dating back to the mid-20th century. The design features motifs that include the diamond shape of herring nets and the cable patterns reminiscent of rope and rigging. This particular jumper was typically worn on special occasions or Sundays, rather than while at sea. Fisherwomen, who were skilled knitters, created ganseys during their spare time as they awaited the herring catch to arrive at the quayside. Vertices 5305 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fisherman's 3-Ply Knitted Gansey Type The nature or genre of the resource 3D Object Description An account of the resource This is a fine example of a traditional 'Helmsdale' patterned fisherman's gansey or jumper, dating back to the mid-20th century. The design features motifs that include the diamond shape of herring nets and the cable patterns reminiscent of rope and rigging. This particular jumper was typically worn on special occasions or Sundays, rather than while at sea. Fisherwomen, who were skilled knitters, created ganseys during their spare time as they awaited the herring catch to arrive at the quayside. Date A point or period of time associated with an event in the lifecycle of the resource 2025 Contributor An entity responsible for making contributions to the resource melendezenrique@uniovi.es Format The file format, physical medium, or dimensions of the resource model/gltf-binary License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Source A related resource from which the described resource is derived images Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. 3D 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://sketchfab.com/models/fd22d1bb49ac41bfaae781bf5dcc9aec/embed 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. Enrique Meléndez Galán Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: Scientific Research Centre of Slovenian Academy of Sciences and Arts Identifier An unambiguous reference to the resource within a given context 5 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 632 Material Wool Natural Cultural Cultural Function Functional item of clothing Creation Purpose The jacket was a prototype, a test piece. Technique The sweater was made using the wet felting technique. Creating a seamless felted garment of this quality demands advanced knowledge of textile construction, fiber behavior, and shrinkage ratios, as wool can shrink up to 40% during the felting process. The mastery of this technique allows the artisan to craft a fully functional, form-fitting piece that is both durable and comfortable to wear. Material Source Italy Conecept Anja Musek says that her medium of expression is wool, and that she finds inspiration mainly in nature. Škofja Loka was also known for hatmaking, where the knowledge of wet felting was used by hatters to make the bases for their hats. Craft fibre and textile crafts Tool wet felting Place The town or city Atelje Amuse Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Felted sweater Type The nature or genre of the resource Physical Object Description An account of the resource This is a sweater in crafted in wet-felting technique, created entirely from a single piece of felt. The seamless construction demonstrates a high level of expertise in both felting and garment shaping, as the entire form is sculpted during the felting process rather than being cut and stitched together. Date A point or period of time associated with an event in the lifecycle of the resource 2016 Creator An entity primarily responsible for making the resource 448 Language A language of the resource Slovene Subject The topic of the resource Fashion Extent The size or duration of the resource. 35cm x 53cm x 125cm Contributor An entity responsible for making contributions to the resource cc274@st-andrews.ac.uk Identifier An unambiguous reference to the resource within a given context 373 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 28/05/2025 Spatial Coverage Spatial characteristics of the resource. current,46.16670752477649,14.30700671376705; Date Modified Date on which the resource was changed. 10/06/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. http://www.amuse.si/my-story.html