3 100 1975 https://culturality.museum/omeka/files/original/1aa97d3cf70caa4ca9ae38d281278340.jpg 778e9ecc49f39d34e1242a5371d20cd4 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 Interior de la quesería Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-08-14 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. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/f0fcad57deb30b9bffcfdd3819c41724.jpg 4c8ff70bd3a738f89baf88ac93786732 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 Exterior de la queseria Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-08-14 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/a6c767e7cf0b9dc735c727ccc5e6ac55.jpg b238494b30e79f499a0a2ea3ac9bd738 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 Exterior de la queseria Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-08-14 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/7d7932f03c899889397e1d0ce3e06efe.jpg 2e946cee1394031b2bbce8aca7dedff3 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 The practitioners entrevistados Beatriz Rodríguez, Francisco Wagner y un colaborador del proyecto 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. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-08-14 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. Carmen Pérez Maestro Artisan An artisan Contact queserialacasavieya@gmail.com Author iain Email The email address of the museum. queserialacasavieya@gmail.com Phone The phone number Spanish phone code: 34 / 608 58 69 92 Biographical Text Beatriz Rodríguez and Francisco Wagner are shepherds, cattle farmers, and producers of Gamonéu del Valle cheese in Parda, Cangas de Onís. The Gamonéu cheese is a traditional blue cheese from Asturias and parts of the Picos de Europa, Its creation dates back to ancient times and forms an important part of Asturian cultural heritage, both tangible and intangible. Beatriz and Francisco are recognized as the first producers of organic/ecological Gamonéu del Valle cheese. Their product has Protected Designation of Origin status and has been certified by COPAE since 2021. The aim of Beatriz and Francisco's cheese small factory, called “Queseria de la Casa Vieya,” is to produce 100% artisanal (using ancestral techniques) and organic cheese using three types of milk: goat's milk, sheep's milk, and cow's milk. To achieve this goal, they maintain a traditional system of small-scale grazing and livestock farming with a few Casina cows, 32 sheep, and 60 “Bermeya” goats. External ID LAPONTE_PR_06 Knowledge Acquisition Beatriz and Francisco learned mainly through self-teaching and constant work and experimentation, which gave them a lot of experience over the years. Neither of them has family members who have been involved in cheese making, so they did not inherit the artesanal job from anyone. However, there was an important formative part that Francisco mentions: "We were lucky enough to attend the shepherding course in the Picos de Europa, which unfortunately no longer exists. We went to the last course and learned all the theoretical part, which is very important to acquire. The methodology of the course was that you went up into the mountains and lived with the shepherds to learn as much as possible. There were two important trainers named Cándido Asprón (a renowned and award-winning cheesemaker from Asturias) and Jesús." However, Francisco mentions that even though you receive a lot of theoretical training, the most important part comes in practice, and in that process they spoiled a lot of cheese, made mistakes, and had some problems. After spending some time with their first cheese productions, they received a visit and mentoring from the famous cheesemaker Cándido Asprón, who reviewed the ways in which they were preparing the cheese and gave them advice on things they needed to fix or change to improve their production. Since then, Beatriz and Francisco have improved and refined their cheese-making techniques until they obtained recognition and certificates for their Designation of Origin product. Knowledge Transfer No Field Worker Carmen Pérez Maestro Area Reason They have been living in Cangas de Onís for more than 10 years. Although they are not from Parda in Cangas de Onís, both are Asturians and have always had a strong connection with the rural area. They decided to start raising livestock and making cheese because they used to own a bar and a gas station. They mention that they were not happy running those businesses due to the issue of “self-exploitation” and that for them, happiness means living in the countryside and dedicating themselves to something meaningful. Occupation other (specify),other (specify) Involvment full-time paid job knowledge1 In addition to the knowledge required to make cheese, it is very important to have knowledge about grazing: the correct ways to take animals to pasture, protect them from predators, keep them safe, and knowledge about the health and nutritional needs of goats, sheep, and cows. Another important area of knowledge is that of the territory: knowing which communal pastures are accessible, climate change (droughts and high temperatures) that affect the availability of food for animals and affect cheese production, since cheese is very vulnerable to high temperatures and excessive humidity. Beatriz and Francisco work with living elements, from the rural territory to their animals and the bacteria found in their cheeses. It is important to know how to manage and identify the needs of these living beings. material1 To produce Gamoneu cheese, cows, goats, and sheep are needed in order to mix three types of milk, and a vital or important material is communal pastures, which are public pastures where their animals can obtain all the food they need. Another important aspect is to have access to the high caves to storage the cheese. material2 N/A material3 N/A production1 Cheeses are made using three types of milk: cow’s, sheep’s and goat’s milk. To achieve the best quality, Beatriz and Francisco make sure that most of the milk used in their cheeses comes from sheep and goats, as these provide a great deal of flavour and complexity, which makes the product stand out from the rest. Nowadays, Gamoneu cheese is produced mainly with cow’s milk, which does not have the same flavour or the same quality. The animals live freely and are milked by hand. The milk is then processed, curdled and drained to obtain the cheese. This is followed by the cheese “curing” process: the cheeses are smoked for 12 to 15 days at Beatriz and Francisco’s home and then taken up to the mountains, where they are stored in a cave at an altitude of 1,300 metres to continue the maturation process. The minimum maturation time is one and a half months, although some cheeses are matured for much longer production2 Main tools: milk cooling tank (to keep the milk at exactly 5 degrees Celsius), a basin for mixing the milk, some simple tools such as a ladle for stirring the milk, natural rennet, a blanket for draining the cheese, a knife for cutting the cheese, and a thermometer for monitoring the temperature. Tools needed after the cheese has been prepared: a very small stove for smoking the cheese and wooden structures for placing the cheese in the smoking chamber. production3 No special relationship with the tools is mentioned production4 Energy from the cooling tank and wood for the cheese smoker. This is not excessive energy use, as they produce cheese in small quantities; it is not industrial production. production5 No waste is generated during the process workshop Yes, the cheese dairy is a two-storey building located near the artisans’ home. On the ground floor, the raw materials are processed to make the cheeses, and the finished products are stored there. On the upper floor, the drying and smoking processes take place. products1 Gamonéu cheese: this is a traditional blue cheese from Asturias and the Picos de Europa mountains. Unlike other blue cheeses from Asturias (such as Cabrales cheese), Gamonéu cheese is smoked and has a rind that prevents the blue mold from penetrating too deeply, giving it a harder texture that crumbles easily. The key to producing good Gamonéu cheese is to use a higher percentage of sheep and goat milk (local breeds adapted to the landscape whose milk is richer in fat) and a lower percentage of cow milk. products2 Beatriz and Francisco have a huge passion for everything that goes into making Gamonéu cheese: traditional livestock farming and grazing systems, living in a rural area surrounded by nature, continuing ancestral legacies, protecting Asturian cultural heritage through a 100% artisanal cheese, and helping to keep an important part of Asturian identity alive. products3 For Beatriz and Francisco, it is very important that their cheese reaches people who will appreciate it and who will not try to lower the price, as its production is an arduous process that involves a lot of work to achieve the highest quality standards. That is why Beatriz personally distributes her cheese to people in the local community, to a restaurant in Cangas de Onís that she trusts, and she has a WhatsApp profile where people she knows can personally order cheese from her. She also attends specific craft markets: those that sell authentic artesanal products. products4 Cheese sales only products5 N/A products6 The local community from Cangas de Oníse/ Pople from Asturias who knows the value of their cheese / People from the rest of Spain and few tourists who are "fans" of cheese. products7 Yes, their Gamoneu cheese has the COPAE certificate. This certification means that their product is artesanal, ecological and localy produce under high quality standards. tourism1 No. Currently, they prioritize the local community to have access to their handmade products. Francisco mentioned that he does not like tourism, and Beatriz said that the most they have done is attend some craft markets. However, both maintain a critical perspective on these markets, since not all vendors sell authentic artisanal products... but rather poor-quality or industrial-quality products that are passed off as traditional regional products. Beatriz mentions that they cannot offer their cheese in these spaces because it detracts from the value that its ecological and artisanal production truly represents. Francisco acknowledges that tourism increases sales of their cheese, but they prefer that local people or people who truly appreciate cheese and its history be their main consumers. Beatriz adds that they produce very little cheese and cannot sell it to hotels, supermarkets, or other high-demand tourist spots because they would not be able to meet that demand. In any case, they are not interested in expanding their project through tourism, increasing production, and meeting demand because they would lose their artisanal production process and their ecological seal. In addition, Beatriz mentions an important point: "I am the one who visits specific places such as a local restaurant, or goes directly to the neighbors, or shows up at authentic artisan markets to sell the cheese, because not everyone will take care of the cheese like we do. For example, supermarkets would store the cheese in a standard refrigerator with the wrong temperature, the wrong humidity level, etc., and my cheese would be ruined! Not everyone is going to take good care of a product that you have put so much effort and work into, which is why we prefer to distribute the cheese ourselves. tourism2 Francisco: "A mí eso del turismo no me gusta nada. Sí, es verdad que con el turismo se vende más queso, pero nosotros no estamos interesados en vender en masa porque no todo el mundo lo aprecia. Preferimos venderlo a locales o gente que sepa apreciarlo." ......................... Beatriz: Nosotros producimos pequeñas cantidades de queso, somos muy cuidadosos con la difusión o publicidad que le damos a nuestro producto porque no podríamos satisfacer una alta demanda. Y de todos modos, no es lo que queremos, porque queremos seguir produciendo de forma artesanal, ecológica y para eso es necesario hacerlo en pequeña escala" partnership They do belong to some associations (the Bermeya goat association for cheese production, the COPAE association that certifies the product, the mountain management association, etc.), but they do not collaborate directly with anyone. Nor do they make cheese together with anyone else. Their cheese factory is their own individual project. challenges1 Challenge 1) Finding public land (known as “communal pastures”) that meets ecological certification requirements so that animals can graze at different times of the year. There are very complicated bureaucratic processes and environmental protection laws that restrict farmers and shepherds from using the land. This poor administrative management and lack of policies are preventing Gamoneu cheese from being reduced to production in the valley and not in Puerto, which are high mountain areas where animals can also graze and Gamoneu cheese from Puerto can be produced. Challenge 2) In this other high mountain area Puerto, there are no cheese factories where Francisco and Beatriz can work and make their own cheese. According to Francisco, there are only two cheese factories in the Principality of Asturias, and they are managed by the same people who have always managed them. In these areas, there are abandoned spaces and huts that could be used to live in and keep animals, but there are no cheese factories. challenges2 Beatriz: "Nosotros queremos trashumar y llevar a los animales a Puerto para hacer queso allá, pero también es muy difícil encontraler pastos comunales, porque le quitan al pastor y al ganadero el derecho de llevar a sus animales a pastar. Además ahora hay mucha zona protegida que empeora las políticas de acceso." .................Francisco: "El problema es, que queremos hacer queso no solo en El Valle, pero también en Puerto, pero no hay queserías. Algunos pondrán la excusa de que es por el frío o el clima duro que no se puede acceder a Puerto, pero no, es por falta de queserías. Solamente hay dos queserias y son del principado de Asturias." Social Media The social media links. facebook,https://www.facebook.com/lacasavieyaquesugamoneu/?locale=es_ES; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Beatriz_Rodríguez_and_Francisco_Wagner Prim Media 2058 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Beatriz Rodríguez and Francisco Wagner Type The nature or genre of the resource Artisan Description An account of the resource Beatriz Rodríguez and Francisco Wagner are shepherds, cattle farmers, and producers of Gamonéu del Valle cheese in Parda, Cangas de Onís. The Gamonéu cheese is a traditional blue cheese from Asturias and parts of the Picos de Europa, Its creation dates back to ancient times and forms an important part of Asturian cultural heritage, both tangible and intangible. Beatriz and Francisco are recognized as the first producers of organic/ecological Gamonéu del Valle cheese. Their product has Protected Designation of Origin status and has been certified by COPAE since 2021. The aim of Beatriz and Francisco's cheese small factory, called “Queseria de la Casa Vieya,” is to produce 100% artisanal (using ancestral techniques) and organic cheese using three types of milk: goat's milk, sheep's milk, and cow's milk. To achieve this goal, they maintain a traditional system of small-scale grazing and livestock farming with a few Casina cows, 32 sheep, and 60 “Bermeya” goats. 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 793 Source A related resource from which the described resource is derived artisans,asturiasmap Spatial Coverage Spatial characteristics of the resource. current,43.35107,-5.12749781; 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. Beatriz Rodríguez and Francisco Wagner https://culturality.museum/omeka/files/original/f69368342495f3546edc12727d86551f.jpg 11655ff49e9f4e1456c5b096861a48c5 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 UberdonCheese Label 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. In Copyright (InC) 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. Jose Luis alonso https://culturality.museum/omeka/files/original/6dcdf0ce2893b30195837f8a7fd736e4.mp4 f4e56decfcb329ef402bb25ec02d511b Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview video Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-04-22 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_05_1_.mp4 Artisan An artisan Contact alonsojoseluis14@gmail.com Author iain Email The email address of the museum. alonsojoseluis14@gmail.com Phone The phone number 608093170 Biographical Text He inherited his grandfather’s trade — a historic shepherd in the area — along with his passion for the mountains, livestock herding and cheese-making. He currently owns 200 sheep, 70 goats and 25 cows, practises transhumance, and is responsible for the Uberdón cheese dairy, where Gamonéu de Puerto cheese is produced in the traditional way. He is currently one of the youngest shepherds in the area who still make cheese in the Picos de Europa. He produces his cheese, Gamonéu del Puertu, a product with its own Protected Designation of Origin, using milk from his own cows, sheep and goats. Through an artisanal process, the cheese is finished with maturation inside the mountain of Covadonga. Despite his youth and the short time he has been running the dairy, José Luis has received several awards for the quality of his cheeses, including the “National Gastronomy Award for Young Talent – Alimentos de España” and “Young Farmer 2023”. External ID LAPONTE_PR_05 Knowledge Acquisition He has been drawn to working with animals since childhood. He first learned from his grandfather, but he believes that most of his knowledge comes from daily practice and from learning through mistakes. Knowledge Transfer No, he does not currently teach these skills to others. Field Worker Maria Jose Tudela Castro Gender male Area Relation native Involvment full-time paid job knowledge1 It is essential to know how to care for the animals throughout the year, to have a strong vocation and passion for livestock, and to master milking techniques. material1 He uses cow’s milk and milk from his cattle and sheep, all of which are fed exclusively on natural pasture. He also uses renne material2 The milk comes entirely from his own production. The rennet is purchased, although traditionally it was prepared using the stomach of a young goat. material3 No waste is generated during the production process. production1 He milks the cows in the morning, adds the rennet, and after waiting several hours, cuts or grates the curd. He then places the mixture into the moulds, turns the cheese when required, and finally salts it. production2 He uses moulds that meet current sanitary regulations, which differ from traditional wooden moulds once used in the past. He also uses a jug, a container, the milk vat, a strainer, and other basic tools required for cheese production. production3 He stores in the cabin his grandfather’s descas, to which he has a strong emotional attachment, as well as the traditional curd-stirring stick. Current sanitary regulations prohibit their use in the dairy. production4 He has access to energy in both the cabin and the dairy through solar panels. Water must be carried up throughout the year, as there is no direct water supply at the site. production5 No waste is generated during the production process. The entire workflow is designed so that all materials are fully utilised. workshop He uses several separate spaces: the cabin, where he sleeps; the dairy, where the cheese is produced; the smoking room, located inside the dairy and used for the smoking process; and the cave, where the cheeses mature and ferment. The dairy belongs to the local council, while the other spaces are part of his seasonal activity in the mountain pastures. products1 He produces Gamonéu del Puerto cheese. products2 He produces it both for commercial sale and to keep the traditional craft alive. products3 He sells mainly to tourists and several local bars, including one that initially supported his product and remains his main buyer. He also has regular customers who purchase cheese throughout the year. His production is limited—approximately 1,400 kg annually—so he can hardly take on new clients and works with three fixed buyers. products4 He occasionally shows the cave and his working process to friends or acquaintances, but considers it something exceptional. Although he could receive visitors daily, he cannot interrupt his work to attend to the public on a regular basis. products5 No, he does not provide repair or reutilisation services. products6 His customers consist mainly of tourists and regular buyers who purchase his cheese each season. products7 Yes, his cheese is protected under the Gamonéu del Puerto Designation of Origin (PDO). tourism1 His involvement with tourism is limited to selling cheese to visitors in the area tourism2 "Si más animalista que yo no hay, el animalismo no está solo en el lobo." "Me voy a poner en el rebaño con una escopera, yo también me estoy defendiendo." "El lobo acabó con muchos quesos y con el modo de vida de mucha gente." partnership He collaborates with the Bearded Vulture Association, to which he sells his lambs. This organisation assists him in distributing the product to selected supermarkets and hospitality businesses, while also ensuring that he receives a fair price. To participate, the lambs must meet high quality standards. He does not engage in collaborations with academic institutions nor participate in co-creation projects with other practitioners or public organisations beyond this association. challenges1 His main challenges arise from the presence of wolves, which constitute his greatest concern. He also notes that the pastures are no longer what they once were, due to increasing land abandonment, which has led to dense scrub growth and a decline in the quality of grazing available for livestock challenges2 «Ser pastor y hacer queso, las dos cosas a la vez, como hago yo, es casi imposible» references https://efeagro.com/pastoreo-heroico-picos-europa-lobo/ https://www.youtube.com/watch?v=hYpUL8BXtas https://www.youtube.com/watch?v=sijWZcWw_BY Social Media The social media links. facebook,https://www.facebook.com/Queseriauberdon; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Jose_Luis_Alonso_Zaragoza Prim Media 2056 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jose Luis Alonso Zaragoza 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 1995 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 792 Source A related resource from which the described resource is derived artisans Spatial Coverage Spatial characteristics of the resource. current,43.34833333,-5.1275; 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. Jose Luis Alonso Zaragoza 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.dopgamoneu.com/comprar-queso-gamoneu/la-queseria-uberdon/ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context All of this intricate system—the high mountain livestock culture, the relationship between human beings and their natural environment expressed through culture—ultimately materializes in each and every wheel of cheese. Around the making of Gamoneu cheeses, a whole set of unique elements has taken shape over the decades and across generations: aging in natural caves, traditional architecture of the majadas, the social structures that developed within them, the shaping of the vegas (highland meadows), the coexistence of humans, domestic animals, and wild fauna, and even a distinct culinary tradition. Era também um alimento asociado a festividades importantes da comunidade: “En las bodas […] el postre era queso de Gamonéu […] cuñas de queso de Gamonéu. Field Worker Carmen Pérez Maestro Policy Threats Lack of conservation policy,Threatening regional planning policies Demographic Threats Rural-urban migration Weakened Practice Reduced practice Loss Threats Loss of cultural spaces SDG Zero Hunger,Good Health and Wellbeing,Clean Water and Sanitation,Affordable and Clean Energy,Life On Land External ID LAPONTE_CP_03 Knowledge Raising and grazing (of cows, goats, and sheep), milking, and the production of cheese itself Knowledge Transfer The entire process is a tradition passed down through families. Practitioners Currently, within the DOP (Protected Designation of Origin), there are 4 producers of queso del Puerto and 18 producers of queso del Valle. In the past, the entire family was involved in the process: the men (fathers, grandfathers, children) in the grazing and cheese-making, and the women (grandmothers, mothers, and girls) in the maintenance tasks and, to a lesser extent, in cheese production. Today, it is mainly couples, as young people study outside rural areas. Women have increasingly joined in the cheese-making process as well as its distribution and sale at markets. Regarding the decline in the number of shepherds, the Picos de Europa Shepherd School was created in 2004, reflecting the concerns voiced by shepherds from the Asturian municipalities within the National Park’s sphere of influence. Its core initiative has been an Introductory Course in Alpine Shepherding, designed to encourage a new generation to take up the profession. By showcasing the value of this role, the school seeks to reinvigorate the region, curb the pressing depopulation trend, stimulate the local economy, and help preserve the traditional landscape (Prieto, 2019). The coexistence of extensive livestock farming and large predators is one of the most important social conflicts now affecting this tradition. In this context, we highlight an initiative created by three biologists, Les Mastines, a solidarity project aimed at promoting practical solutions with an effective and positive impact both on livestock farming and on the local wildlife. It focuses on assisting through surveillance and protection of herds that are vulnerable to attacks by large predators. Function Traditional practices, such as livestock farming, which have long been known as short-distance transhumance, involve moving herds and shepherds every year from the valleys to the highlands in search of prized high mountain pastures for the livestock. This process also results in the production of artisanal cheeses, which are the livelihood of the families dedicated to this work. Associated with this tradition and aimed at tourists, there is a festival declared a 'tourist attraction' called 'The Shepherd's Day,' celebrated as a tribute to the shepherds of the Picos de Europa. It brings together people dedicated to this tradition and tourists Origins and change The management of high-altitude pastures in the Asturian mountains has been documented since the late prehistoric period (Polledo, 2024). Although no archaeological evidence specifically documenting the production of cheese (ceramic cheese-making vessels) has been found in this area, as has been documented in other locations since the Neolithic period, it is assumed that cheese was one of the products made by the high mountain shepherds. Since the 17th century, this cheese has served as a basic sustenance 'for the poor of the council,' as expressed in records from the 18th century. The name 'Gamonéu,' which seems to be recent, refers to two homonymous villages: Gamonéu de Cangas and Gamonéu de Onís. The most significant changes in land management, and consequently in the production of dairy products in this area, occurred in the early 20th century with the creation of the 'Picos de Europa National Park,' which intersected with the social history of shepherd-cheesemakers, breaking the integrity of the community management system and the way of life that was inseparable from it. The conservationist ideas of the landscape in the established national parks in Spain, in this case, made the shepherding community vulnerable by assuming official entities took over the management of the land. It is estimated that from the mid-1950s to 2018, the number of shepherds in the region decreased from 100 to 11 (Prieto, 2019). The main factors behind the decline in Gamonéu‑cheese production have been: wolf attacks; the shrinking of grazing land inside the National Park because controlled burning to renew pastures is now forbidden; the drop in goat and sheep numbers; and the lack of generational succession to keep the shepherd‑cheesemaker trade alive. In 2003 the Asturian regional government created the Gamonéu PDO (Protected Designation of Origin) to valorize and safeguard this cheese and to stimulate the area’s production sector—an initiative that has especially benefited the valle Organisations The Association of Artisan Cheesemakers of the Principality of Asturias is a non-profit, regionally based organization founded in 1991. There are eight producers of Gamoneu cheese who are members of this association. The Brotherhood of Friends of Gamoneu Cheese is made up of a group of friends who, without any profit motive, support, promote, and take pleasure in sharing everything related to the world of Gamoneu cheese. Places Gamoneu cheese is produced in two distinct zones: Gamoneu del Puertu, which preserves the ancestral cheesemaking tradition of the Picos de Europa region, and Gamoneu del Valle, which is made in small dairies located in the lower areas of the municipalities of Onís and Cangas de Onís. Gamoneu del Valle cheeses are smaller in size than those from the Puertu, but they are produced year-round. In autumn, the cheeses reach their optimal point of maturity, which is why producers attend fairs held in the capitals of their respective municipalities. Cangas de Onís celebrates the Feria del Pilar on October 12th, featuring the Exhibition and Contest of Picos de Europa Cheeses. In Benia de Onís, the Annual Gamoneu Cheese Festival takes place on the third Sunday of October. Artefacts "Arnios" or molds made of plastic or metal are used, although wooden ones are still in use as well. The "artesa" is a wooden piece designed to collect the whey released by the cheese. The "presugo" is a thin board that allows the cheese to be easily flipped. The "talameras" are shelves placed inside the cabin above the hearth or fire, where the heat and smoke slowly dry the cheeses. Policy Threats Description An overly conservationist policy applied to a territory whose landscape has been shaped by humans since prehistoric times Demographic Threats Description The sons and daughters of the families devoted to this tradition no longer wish to carry it on because of its harshness; they move away to study in the cities Weakened Practice Description The number of high‑mountain (‘puerto’) cheese producers has fallen because the area where they work was declared a national park and because of wolf predation. Loss Threats Description Again, this is largely due to strict environmental conservation policies State of the practice declining Social sustainability It contributes to community development, since this activity provides a livelihood for several families in a rural mountain area Environmental sustainability It contributes to sustainable environmental stewardship thanks to traditional livestock husbandry and the handcrafted cheese‑making process. Economic sustainability It is an economically sustainable activity for the families who practice it. Place The town or city Onís y Cangas de Onís, Asturias, Spain. Place Description Gamoneu cheese is traditionally made by seasonal transhumant shepherds on the maritime slope of the Picos de Europa, a region that currently forms part of the political territory of the autonomous community of the Principality of Asturias, specifically in the municipalities of Onís and Cangas de Onís. It is a high mountain landscape characterized not only by its steepness, but also by its majadas—places where pastures have traditionally been used for cows, goats, and sheep. These meadows or valleys have also been shaped by human activity through stone constructions used for livestock and shepherds during the summer season. This cheese holds great importance for the local community. Its production involves a mixture of three types of milk: goat, cow, and sheep. There are two varieties: Gamoneu del Valle and Gamoneu del Puerto. The different types of milk used in the production of Gamoneu del Puerto come from herds that graze in the vegas or majadas of the northwestern areas of the Picos de Europa National Park. The livestock feeds exclusively by grazing in the highest mountain pastures of these territories. To produce Gamoneu del Puerto cheese, at least two types of milk from the three—cow, sheep, and goat—must be mixed, with a minimum of 10% being sheep and/or goat milk. The production of Gamoneu del Puerto is seasonal due to the weather conditions and the difficulty of grazing in winter, so its production is limited to the spring and summer months. For this reason, the production volume of this variety is lower compared to Gamoneu del Valle. This variety, like Gamoneu del Puerto, is made following the eight essential steps for Gamoneu cheese production: mixing the milk, letting it rest and curdle to form a solid mass, cutting and draining the whey, molding, salting, slow drying and smoking, and finally aging in a cave, where the cheeses mature for a month and acquire their final flavor thanks to the action of fungi and yeasts. Another difference from Gamoneu del Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gamoneu Cheese Type The nature or genre of the resource Intangible Description An account of the resource It is a fatty, matured cheese with a natural rind, which can be made with cow’s, sheep’s, and/or goat’s milk. It is lightly smoked and has slight Penicillium blooms along the edges. Gamoneu becomes a blue-veined cheese after a long aging period in the cave. With a shorter maturation time, it is predominantly white to yellowish in color, with greenish-blue veins of Penicillium spreading from the outside toward the center. The paste is semi-hard and crumbly, with a strong but not overpowering aroma, and smoky notes. Some wheels are quite large, weighing up to eight kilograms, with an intense smoky aroma and a spicy flavor Language A language of the resource Asturian,Spanish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 790 Source A related resource from which the described resource is derived asturiasmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. González-Álvarez, M. (2015). Denominaciones de Origen y Parques Nacionales: actividad quesera en Picos de Europa. Revista de humanidades (25), 57-84. Monesma, E. (2003). La vida de los pastores de los Picos de Europa y el queso de Gamoneu. Oficios Perdidos. Documental. https://www.youtube.com/watch?v=RTFXabGx6Ro Oliveira e Oliveira, T. C. D. (2023). Revalorização de alimentos símbolo de comunidades-território. Os casos do mel virgem de abelhas Pisilnekmej no território maseual (México) e do queijo Gamonéu de pastores de Picos de Europa (Espanha). Prieto, D. (2019). La Escuela de Pastores de Picos de Europa: revitalizando la cultura de pastoreo quesero. PH: Boletín del Instituto Andaluz del Patrimonio Histórico, 27(98), 298-307. Polledo, M. (2024). Evidencias arqueológicas de actividad humana en áreas de alta montaña: los Picos de Europa y su entorno durante la prehistoria. En RUIZ-FERNÁNDEZ, J., LUELMO-LAUTENSCHLAEGER, R., PÉREZ-DÍAZ, S., GARCÍA-HERNÁNDEZ, C., LÓPEZ-SÁEZ, J.A., ALBA-SÁNCHEZ, F., GALLINAR, D., RUIZ-ALONSO, M., GARCÍA, A., GONZÁLEZDÍAZ, B., (Eds.) Socio-ecología, arqueología y geohistoria de los paisajes de montaña ibéricos: una mirada multidisciplinar. Oviedo: CeCodet (Universidad de Oviedo) – Ed. Trabe. págs. 491–507. Valle, F. (2007). Quesos artesanos de la comarca oriente de Asturias. Llanes: Consorcio del Oriente de Asturias. Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 18/12/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Queso Gamoneu Spatial Coverage Spatial characteristics of the resource. current,43.314444,-5.066667; Creator An entity primarily responsible for making the resource 2057,2054 Date Modified Date on which the resource was changed. 19/12/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews 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 2050 Natural Cultural Cultural Function Sailing in open sea water Creation Purpose Originally as a fishing vessel to provide an income and/or food for the owners. The current day use is for leisure sailing and cultural events. Technique By hand, as described in the Conecept Although ‘Oigh Niseach’ was not built by Mark Stockl, he has completed extensive repair work on her, on behalf of ‘Falmadair – North Lewis Maritime Society.’ This chairty now has four, traditional, sea-worthy sgoths, of different sizes. All of these can be used by the community for leisure sailing and are very often used as a central focus for artist residencies and cultural gatherings, linking the traditional story telling maritime tales and gaelic language to contemporary art projects. Production Quality Bespoke artisan production. External ID AAS_AR_16 Field Worker Netty Sopata Craft woodwork Tool Hand saws / hammers / chisels / steamers: Traditional Joinery Tools Place The town or city Stornoway Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wooden Boat Type The nature or genre of the resource Physical Object Description An account of the resource Wooden, dipping lug sailing boat traditionally used for fishing in the sea areas surrounding the Hebrides. Language A language of the resource Scottish Gaelic Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 789 Source A related resource from which the described resource is derived craftedobjects,scotlandobjects,highlandandislands Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 18/12/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Sgoth Spatial Coverage Spatial characteristics of the resource. current,58,-6; Date Modified Date on which the resource was changed. 06/04/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/308f788a29bed6747a405e2768daf609.JPG 6b64bbf02a47ea01739e994632f09bc1 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 Oich Niseachpost pre- rennovation by Mark Stockl 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. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 20/09/24 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. www.falmadair.org https://culturality.museum/omeka/files/original/a7aa52255a57e9fa1cfacc3551ccf747.JPG 6533378963e7333cc7c51834a0b61db6 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 Oich Niseachpost rennovation by Mark Stockl 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. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-10 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. www.falmadair.org 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 2047 Material Clay Natural Cultural Cultural Function To drink hot liquids from – Tea / coffee etc. Creation Purpose For sale in the retail space at the pottery. Technique Thrown by a potter using a potters wheel (AAS_AR_01). The clay is manipulated by hand as the potter’s wheel turns. After a period of air-drying, the clay is still soft enough to have handles added and stamps imprinted on the base. The handles are made by being ’pulled’ (AAS_CP_001_l1) by hand and molded on the mug base. These are then fired in a gas, or electric kiln. A glazing process takes place (to add colour to the mug) and a second ‘firing’ in the kiln. Material Source Staffordshire. See Artefact AAS_AR_02_l2 Conecept Mugs are one of the most popular items the pottery has produced over the decades. They are functional items that many tourists purchase. The colours created in the glazes that Sue uses depict the colours of the surrounding landscape. Production Quality Currently produced in batches of up to 11 at a time (for throwing and adding handles). Batches of up to 48 can be fired in the kiln. External ID AAS_AR_15 Field Worker Netty Sopata Craft ceramics Tool Potters wheel, Knife, stamp, Kiln and hands. Place The town or city Borve, Isle of Lewis, Scotland Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Mug Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mug Type The nature or genre of the resource Physical Object Description An account of the resource A green, hand-thrown mug, with handle, made by potter Sue Blair (AAS_PR_001) of Borve Pottery. Date A point or period of time associated with an event in the lifecycle of the resource 11/01/25 Creator An entity primarily responsible for making the resource 234 Language A language of the resource English Extent The size or duration of the resource. 13cm x 8cm x 12cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 788 Source A related resource from which the described resource is derived craftedobjects,scotlandobjects,highlandandislands Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 18/12/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Cup Spatial Coverage Spatial characteristics of the resource. current,58.4,-6.44; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/61e69a0c2d60b19ff893a3f86c326806.jpg b1016da2bdbc117aa9210ee4bf4a9f80 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 Green, hand thrown mug. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 17/12/25 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Sopata https://culturality.museum/omeka/files/original/e4e7a448ace71332b8cd39aa9cb8810f.MP4 128bca2418d825619f59aed7a27c6caf Moving Image A series of visual representations imparting an impression of motion when shown in succession. 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Title A name given to the resource UNIOVI_PR_06(11) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_11_.MP4 https://culturality.museum/omeka/files/original/a23351a3d689470fa0b1d64b866fa624.MP4 41d7890b1012625ea90f8e5a11277d28 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(10) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_10_.MP4 https://culturality.museum/omeka/files/original/d40216c14caf358df52317cf75dba583.MP4 885414fdecb4effe60e447345f0dbefc Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(09) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_09_.MP4 https://culturality.museum/omeka/files/original/996e46936e469f214e7ba404c45f5ad4.MP4 61d5e965fa018e0fde4eab708395246c Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(08) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_08_.MP4 https://culturality.museum/omeka/files/original/01502d58c6e00775774c1a3055111335.MP4 48a702060e8b9bdc2e3b099a507fc18f Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(07) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_07_.MP4 https://culturality.museum/omeka/files/original/dfaa7ecc9b0e7f3384c4f8f568d05bb6.MP4 5e9754543f418f6cd9b165f88b29eff0 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(06) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_06_.MP4 https://culturality.museum/omeka/files/original/5646cba46a65dc1415edb9b5418f18b5.MP4 36a6559d0761c0ce48f4aade96d855c0 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(05) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_05_.MP4 https://culturality.museum/omeka/files/original/54515168533860d945cf3ec3d2152678.MP4 682cdda3e16d1ed7ca241e47b38d4aed Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_04_.MP4 https://culturality.museum/omeka/files/original/ab2598693dc8c0838504796514be17fa.MP4 adc8fa725054d84f416a79ad91c7c66d Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_03_.MP4 https://culturality.museum/omeka/files/original/b02e569e5634e64831e96fe10c57f1eb.MP4 e5ff790079970e498160520e9a64ec5b Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_02_.MP4 https://culturality.museum/omeka/files/original/b34e3b56c17a294d0910a0f577b079e7.MP4 2a78b9109cbf7b1c7edf7cf6af8c352b Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_01_.MP4 https://culturality.museum/omeka/files/original/e33f4074666f8a52fb2fc3f4971b8910.jpg 7622a89e36b2fc4a48193ad90b96dbca Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(12) 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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Santiago Rodríguez Pérez https://culturality.museum/omeka/files/original/ab08d93b1ba4f6f8cde1fdbd8f16baa5.jpg 3d4c2950856c825b241a70ad290ee866 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(11) 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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Santiago Rodríguez Pérez https://culturality.museum/omeka/files/original/f6aa9607c0b3c79d566b6c8abf05341e.jpg 4dc7fca6412a2e93816134c7135e7377 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(10) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Santiago Rodríguez Pérez https://culturality.museum/omeka/files/original/a370d7d38d946e7edd453e3028e769bb.jpg 0dafc8a3a2288db2da5623435dffe451 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(09) 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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Santiago Rodríguez Pérez https://culturality.museum/omeka/files/original/d24aa3b6af843e26a834fbdaf669f14d.jpg 6b6b491f686cfc02d0d8b27d814e31aa Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(08) 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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Santiago Rodríguez Pérez https://culturality.museum/omeka/files/original/30a42fd84a479ce5454ad02cca03c5af.jpg 6a57688ed1071909777ef01ced9ed6fc Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(07) 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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Santiago Rodríguez Pérez https://culturality.museum/omeka/files/original/376d66ba55ccb40c22793fd3d35c2bb5.jpg 78c4403727bb340562caa911f262a8f7 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(06) 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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Santiago Rodríguez Pérez https://culturality.museum/omeka/files/original/584d7866667ec2c9fc5449a0b3f0b2de.jpg 491d243ca7bd4f7aaa917018cd7a44bb Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(05) 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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/c049e9fd88e47bc37b2f80fd16dc2d93.jpg 6ae514909da09c9942c2b9e1f257a7bb Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(04) 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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Santiago Rodríguez Pérez https://culturality.museum/omeka/files/original/cae667b6518eb1b1db42f0e3573e73e7.jpg a48794ac80662c2ac51d60b1acc3a50f Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(03) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 3/7/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Santiago Rodríguez Pérez https://culturality.museum/omeka/files/original/98acf61c7345a44c1bc2babe512f71fa.jpg f053ca9f372d5538d62454e9d228dc68 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Santiago Rodríguez Pérez https://culturality.museum/omeka/files/original/445e6a99e442faa9e3a3cd81a532b2dc.jpg 2d873ba91550b9b6a0e9085853a4bae7 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 UNIOVI_PR_06(01) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The workshop during the interview Type The nature or genre of the resource Still Image Description An account of the resource UNIOVI_PR_06(01) 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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Artisan An artisan Author iain Biographical Text Jorque Toquero Román was born in Tudela de Duero, a village in the province of Valladolid, in 1974. He currently lives in Santalla de Oscos. Craftsmanship is his way of life. Before dedicating himself to craftsmanship, he worked for eleven years in the construction sector. Although his father owned a construction company and life led him in that direction, he never felt truly fulfilled. When he was born, his village had around 5,000 inhabitants; today, it has grown to over 11,000. He was always drawn to rural life and wanted to remain in that environment. One of the reasons behind his decision to change paths was precisely that: to stay connected to rural living. He found out that there were knife-making courses in Taramundi, offered through a training workshop. He was already familiar with the Taramundi knives and found the subject appealing, so he decided to give it a try, hoping he could make a living from crafting knives. And he succeeded. For him, it was an opportunity he didn’t let slip by. He lived in Taramundi for five years. Later, he broadened his experience through several trips to Japan, where he worked in knife-making workshops in Tokyo. From that point on, he decided to set up his own business as a knife-making artisan, creating handmade products that blend the traditional craftsmanship of the Oscos-Eo region with Japanese knife-making techniques. External ID UNIOVI_PR_06 Knowledge Acquisition Jorge received his initial training in knife-making in Taramundi, at a workshop school. There, he learned everything necessary to begin the process of crafting knives and folding blades. Years later, he traveled to Tokyo and attended a knife fair in Ginza. He was struck by the level of finish in Japanese knife-making—it was so refined that he even questioned whether the pieces were truly handmade or industrially produced. To him, it seemed incredibly complex. He established relationships with several Japanese knife artisans and began learning to work as they did. Keiko’s father, his wife’s father, owned a metal supply warehouse in Tokyo and encouraged him to improve his craft. He gave him a significant push to focus more on finishing techniques, which are highly valued in Japan. Finishes, heat treatments, and other details are essential, as Japanese knife-making strives for excellence and the highest standards in both materials and cutting quality. Part of his training has been self-taught, which he sees as intrinsic to the artisan’s path. The more you work, the more you learn, and daily practice leads to improvement. This is one of the pillars of Japanese artisan philosophy: to improve a little every day. Not through big leaps, but through the ambition to surpass oneself, to be slightly better each day. He also undertook specific training programs. His first trip to Japan was aimed at learning traditional Japanese techniques for working with iron and steel. There, he trained in several knife-making workshops to learn different methods and approaches. Knowledge Transfer He has not had any apprentices, nor has he conducted training courses for others. Field Worker Santiago Rodríguez Pérez Lucía Pérez Fernández Area Relation incomer Area Reason Jorge moved to this area around the year 2000, driven by his interest in establishing himself as a craftsman Occupation metalwork Involvment full-time paid job knowledge1 Jorge believes that thoroughly understanding the craft and mastering its various techniques is essential. A craftsman must have basic knowledge of metallurgy, be able to interpret tempering diagrams, and know how to properly work with steel. That is fundamental. Finishing and polishing can be learned over time, but working steel correctly is indispensable. A deep understanding of forging techniques is also necessary, as the quality of the pieces depends on it. If things aren’t done properly, the raw material can be ruined. It’s not just about heating a piece of iron any which way and stretching it—specific knowledge and the right tools are required. He also considers hand tools to be important and has made an effort to preserve that aspect of the trade. material1 He primarily works with stainless steels and carbon steels, although in some less frequent pieces, he uses antique iron. In certain works, he combines carbon steel with antique iron. He often uses Japanese steel in his creations. He frequently employs the Sanmai technique. In Japanese, san means “three” and mai means “layers.” He crafts the blades using this ancient method, which combines multiple layers of steel and iron. Another technique he occasionally uses is Gonmai (five layers). When working with stainless steels, he turns to a modern technique called Suminagashi. This method creates a pattern resembling wood grain or floating brushstrokes, similar in appearance to Damascus steel, though it is not traditional Damascus but rather a decorative laminate. The materials he uses are not difficult to obtain; all are available within Europe. Nowadays, thanks to the Internet, it is possible to access suppliers offering a wide range of steels and qualities. material2 Some of the materials he uses come from Japan, such as shirogami, aogami, and other steels. The basic stainless steel he works with, ACX 380, comes from Albacete (Spain). The softer steels, used for items that do not require high cutting performance, are sourced from Lugo (Galicia). More specialized steels, though not Japanese, are supplied by a French distributor. He also works with German suppliers, but his main sources are Japanese, French, and Spanish—particularly from Albacete. The most special and highest-quality steels come from Japan or France. He has no difficulty obtaining materials, as there are many distributors accessible online. In the past, he worked with a supplier from the Basque Country, which has since closed. As for the handle woods, he mainly uses locally sourced briarwood and boxwood. The boxwood currently comes from Navarra, though he used to source it from Huesca. For his more elegant series, he uses woods commonly found in musical instruments, such as ebony, grenadilla, ironwood, or violetwood. The reason is the same as for luthiers: these denser woods are less affected by humidity. In instruments, this prevents detuning; in knife-making, it prevents misalignment of the parts. The denser the wood, the less it reacts to moisture, helping maintain pressure and ensuring a better fit between the blade and the handle. A folding knife that relies on the pressure of the wood to hold the blade in place may require frequent adjustments if made with softer woods, as they are more sensitive to humidity changes. Boxwood has a high density—around 960 kg/m³—which helps prevent such variations. Grenadilla is even denser, reaching 1,240 kg/m³. He always uses fine hardwoods in his knife-making. material3 Metal waste is generated during the process. The leftover wood is used as fuel in a wood-burning stove for heating, and the sawdust is used for composting. As for the metal, since it cannot be easily recycled, it is properly disposed of. production1 In the work of forging and knife-making, there is no single process, but rather a combination of multiple techniques that result in diverse pieces and finishes. Jorge combines the knowledge he acquired during his training as a knifemaker in Taramundi with the techniques he learned during his successive trips to Japan. One of the forging techniques he uses most frequently is the combination of steel with old iron, a hallmark of Japanese knife-making. When iron is melted, it absorbs carbon from the charcoal and becomes carburized. To eliminate bubbles from the casting, it is heated, hammered, and compacted. Then, the piece is stretched, folded, and joined at temperatures close to 1200 °C. This process is repeated between 10 and 15 times, generating the visible longitudinal lines on the blades—these are the accumulated folds. This is the process of original Damascus steel. The characteristic pattern of Damascus steels comes from the steel ingots that were imported to Syria from India. These folds give the steel great flexibility, allowing it to bend and return to its shape without breaking. The folding process imparts valuable mechanical properties to the metal. Katanas, for example, are made using this technique, combining iron cores with steel and applying multiple folds. This method was common in the manufacture of bladed weapons, as it allowed them to absorb the impact vibrations without fracturing. Polishing was a technique Jorge perfected during his third trip to Japan. By then, he had already mastered finishing techniques with Tanaka, his master, with whom he met other experts in polishing techniques and trained with them. Taramundi provided him with the foundations of the knifemaking craft, and from there, his evolution as an artisan began. Another fundamental technique is grinding. Starting from steel sheets, a blank is cut in the desired shape and ground with an emery wheel to define the edge. The grind can be concave or convex. Jorge believes that knife-making allows him to develop his creativity, working with different materials such as wood and metal. He has always been interested in doing artisanal, manual work—work made by hand. The technique used depends on the type of piece to be made. For example, for a blade made by stock removal, the blank is cut, ground with an emery wheel, and then normalized in an electric furnace, depending on the type of steel. Depending on the alloying elements and the percentage of carbon, different heat treatments and specific temperatures are applied. After normalization, hardening is carried out. For knives made by stock removal, he uses 0.5 mm stainless steel foil to wrap the piece like an envelope, creating an oxygen-free atmosphere. He preheats the furnace to the appropriate temperature for the steel, as well as the oil in which the piece will be quenched. Then he performs the hardening and subsequently three tempering cycles, each at a specific temperature depending on the material. Once tempered, he sharpens the blade and, in some cases, performs a mirror polish. For polishing, he starts with 400-grit sandpaper to remove marks from the abrasive belt and progressively increases the grit: 600, 800, 1000, 1200, 1500, 2000, and 2500. Finally, he polishes with compound and cloth, achieving a mirror finish. As for the handles, he uses materials such as micarta, G10, and fine woods. These pieces are usually accompanied by leather sheaths. To make the handles, he draws the template on the wood sheet based on the blade, cuts it out, and shapes it with a sander. In other pieces, he uses a tang, and from the wood block, he shapes the handle. production2 There are many tools involved, ranging from traditional ones used in artisanal iron forging (such as anvils, hammers, and forges) to much more modern equipment. Jorge understands that, in order to guarantee a minimum level of quality, he needs at least a tempering furnace and the ability to control temperature during the forging process. On his first trip to Japan, he discovered the importance of temperature control when working with different types of steel. Each steel has its own specific characteristics, so it is essential to work within its appropriate temperature range. If those limits are exceeded during forging, the metal deteriorates and becomes irrecoverable. He also considers manual tools to be important and has made an effort to preserve that traditional aspect of the craft. Certainly, nowadays they are not strictly necessary, but proper forging improves the final product—provided one knows how to forge. On one of his trips to Japan, he worked with the same tools that were traditionally used in Asturias: hammer, anvil, forge, etc. Over time, however, he sought out experts, conducted research, and improved his training. He concluded that if you don’t know how to do things properly, you end up damaging the raw material. If traditional forging is used, it must be used correctly. It’s not enough to simply heat iron any way you like and stretch it. A whole body of technical knowledge is required, along with specific tools. An electric furnace is essential. This type of furnace is indispensable for processes such as normalization. With certain steels, it is necessary to maintain the piece at 600 °C for a specific period of time, which can only be achieved with an electric furnace capable of reaching and sustaining that temperature. In a traditional forge, this is simply not possible. production3 He keeps using traditional forging tools because he considers it important not to lose that connection with the past. Certainly, with the means available in earlier times, there were artisans capable of creating true marvels. Nowadays, if you have the right knowledge and know how to handle the tools, you can produce very high-quality pieces. To get started in the craft, there are a number of basic tools: first, a forge with a pyrometer (type K probe), an electric furnace, a belt sander, polishers, a milling machine (not essential, but useful), and a lathe for shaping handles. He owns a copy lathe, although he usually finishes the knives by hand. One especially important tool is the electric furnace, which is essential for giving the steel good cutting quality. You can make beautiful tools, but without that furnace, the steel won’t acquire the necessary properties for proper performance. production4 Electric furnaces have a power range between 2000 and 2400 W, which means energy consumption is high. For now, they do not work with renewable energy sources, except for the wood-burning stove used to heat the workshop. Jorge would love to have access to renewable energy, but currently lacks the resources to afford an installation of that kind. It is something desirable for the future. production5 Metal scraps are generated during the process. The leftover wood is used in the wood-burning stove for heating, the sawdust is composted, and the metal (since it cannot be recycled) is removed and discarded. workshop Jorge runs his knife-making workshop in what used to be the chicken coop of their home, which they have converted and expanded into a metalworking studio. They’ve had the workshop since 2012 and officially opened it in 2013. It was originally a small shed, which they significantly enlarged and fitted with large windows that let in natural light for working. The workshop has a back area where all the tools and the forge are located, with separate spaces for the polishing machine and other equipment. At the front, there is a small shop where they display and sell their work to the public. Jorge shares the workshop with iron artisan Keiko Shimizu, who is also his wife. products1 The workshop mainly produces knife-related items, including both folding knives and various types of fixed-blade knives. Jorge started with fixed-blade knives and later began developing folding knives with greater technical complexity. Profitability is always a challenge: some periods see better sales than others. He takes on the challenge of making different types of products, but even though some pieces require a great deal of work, they don’t always sell, so he must adjust production to market demand. His artisanal production is focused on quality, that is his top priority: to produce high-quality work. However, in order to sustain the business, he also needs to make affordable items. His goal, though, is to produce high-end, quality pieces, and he enjoys crafting them. High-quality folding knives tend to sell well. In fact, if he were to learn another craft, he would be interested in working with jewellery-making techniques, which he could also apply to his knife production. products2 The main purpose of all his production is for sale. Most of it is sold directly to the public, while another portion is through custom orders. products3 There are several sales channels. On one hand, his own website, where he sells part of the artisanal production he makes. He also has a physical shop within his workshop, where he sells directly to the public. Some pieces are sold through distributors. They no longer attend craft fairs or traditional markets, as he no longer considers them worthwhile. He also receives custom orders from clients looking for exclusive handmade knife products. products4 He is fully dedicated to his craft and does not offer other types of services. products5 If a client were to request a review or repair of a piece, he would be able to do it without any problem. products6 Jorge has a diverse customer base. On one hand, tourists visiting the area who purchase his products either directly from his home or through small local distributors. On the other hand, knife collectors. These are the two main customer profiles. Some clients buy a folding knife for everyday use, without any particular expectations, while others are looking for exclusive artisanal pieces. He offers knives ranging from €18 to over €600. products7 There are no labels, quality seals, or protected geographical indications for the artisanal knife-making work carried out in western Asturias. Efforts are being made in this direction, but as of today, there is no certification in place. So far, no such seal has been obtained. tourism1 He does not carry out specific activities for tourists, beyond producing items for sale that are purchased by visitors. tourism2 “Pero el turismo tiene un límite. Mientras la economía funcione, habrá turismo, pero es un sector muy dependiente de otras circunstancias. El turismo también se vendió, pero da para lo que da, y no da para mucho. Los habitantes del medio rural tienen que sostenerse y hacer frente a estos cambios, y no fiarlo todo al turismo como sector económico.” “El turismo de los Oscos es todo nacional, y mientras la economía vaya bien, hay turismo, pero es variable, durante las crisis no hay flujos turísticos. Es algo variable.” partnership He does collaborate with other artisans. For example, in partnership with a fellow craftsman from Fonsagrada, a neighbour, he designed a circular ring locking system for folding knives. He has worked with him on other creations as well. He also collaborates with public institutions, such as the Santalla d’Oscos Town Hall, where he resides. challenges1 There is a generational crisis among artisans, who are increasingly aging. In Jorge’s region, artisanal activity continues, but more workshops are closing and there is no generational renewal. This crisis should have been addressed years ago.He mentions some initiatives in rural areas of other regions that aim to find people willing to take over businesses from those retiring, such as bakeries. If these businesses close, villages lose vitality. When services are available, population can be retained. One of the major challenges in rural areas is retaining population. It is essential, but very difficult. Tourism helps to some extent, but it is not enough. Retaining population would allow for the maintenance of a range of basic services. In Taramundi, for example, a few years ago there was a tourism boom, which led to the creation of many businesses. However, there is now a crisis. Years ago, towns like Taramundi and Santalla were economic drivers linked to tourism. When Fritz (Ferreiros de Mazonovo) and other artisans arrived, the region began to thrive, but now Jorge believes it has stagnated again. There was interest in attracting newcomers, but the people who were young yesterday are now older, and a new generational shift is needed, yet there is no guarantee of renewal. Another serious issue is housing. People come looking for homes, but there are none available, and prices are high. It is difficult to find jobs in rural areas that allow people to afford housing, as salaries are low. Access to mortgage credit is limited. Housing is scarce, and prices have risen significantly in recent years, making it hard for people to settle. Some people want to move to the area, but there is no housing, and the little that exists is overpriced. This prevents new residents from settling and creates a future crisis. Those who do come often have high purchasing power, are elderly, or use the houses as second homes. This external demand also drives up prices and limits access to housing. Housing is perhaps the greatest challenge facing rural areas today. Houses become second homes, and villages end up depopulated because no one can afford to live there permanently, nor do they bring children to the area. Access to housing is complex, and so is access to employment in rural areas, where job opportunities are limited. Jorge believes that as long as tourism exists, they will be able to survive. The challenge is to maintain tourism. Another major challenge is preserving basic services such as education and healthcare. Demographics are also in crisis. For Jorge, housing is the main challenge in the rural area, perhaps even more than employment. Secondly, he believes that newcomers must create their own jobs. Tourism generates some employment, but very little. Livestock farming is difficult to enter without access to land, and there are already farmers in the area. It requires a lot of land. Some people come and try, but it’s also complicated because the population is small, there are few clients, and businesses struggle to survive on the limited income from residents. Other businesses lack generational continuity. Another challenge he identifies is the need to maintain tourism and preserve basic services such as pharmacies, schools, and health centres. In Santalla, basic services are barely maintained. Then there is the issue of remote work. In the post-pandemic years, remote work was considered a possible solution to depopulation. When Jorge researches and innovates in the creation of new pieces, he explores new paths through manual and traditional craftsmanship. He believes knife-making is deeply connected to the culture of a people. He feels that if he can make a living from his craft and is happy doing so, then it is perfectly valid. In the traditional knife-making of the region, there are many other perspectives that are also valuable. challenges2 “Éramos jóvenes, pero empezamos a ser viejos, y necesitamos que venga otra generación” […] “No hay garantía de continuidad”[…] “Hay gente que quiere venir pero no hay viviendas, y las pocas que hay, están a esos precios (desorbitados)”. La gente joven, con capacidad de generar vida otra vez en el pueblo, no puede acceder.” "La capacidad de acceso a un puesto de trabajo que te permita adquirir las viviendas, también es difícil. O traes el dinero para hacer la inversión, o imposible.” references La Nueva España. (2024, September 7). Santalla revisa el pasado navalleiro. La Nueva España. https://www.lne.es/occidente/2024/09/07/santalla-revisa-pasado-navalleiro-107854901.html Jardón, M. (2024, June 9). «Continuamos la tradición cuchillera de la localidad, que tiene más de 200 años». Pegados a la Tierra. https://pegadosalatierra.elcomercio.es/hyottoko-artesania-santa-eulalia-de-oscos-asturias/ Muñiz, I. G. (2023, June 16). Hyottoko, forja y navajas a fuego lento. Fusion Asturias. https://fusionasturias.com/otras-secciones/arte-y-museos/hyottoko-forja-y-navajas-a-fuego-lento.htm RTPA – Radiotelevisión del Principado de Asturias. (2022, November 22). TPA a la carta: Dr. Lobo, del martes 22 de noviembre de 2022. RTPA. https://www.rtpa.es/video:Dr.-Lobo.--T.3-Cap.-9-Santa-Eulalia-de-Oscos_551669166581.html España Artesana. (n.d.). Hyottoko. España Artesana. https://espanaartesana.com/hyottoko be-glu.com. (2024, August 13). Hyottoko Artesanía. https://be-glu.com/en/hyottoko-artesania/ Social Media The social media links. facebook,https://www.facebook.com/hyottokoartesania;instagram,https://www.instagram.com/navajashyottoko/; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Toquero_Román,_Jorge Prim Media 2005 Shop https://www.hyottokoartesania.com/comprar/ Dublin Core The Dublin 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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This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_14_.MP4 https://culturality.museum/omeka/files/original/4b28761273f4c030e40795bd40dfceb6.MP4 10f5761656dc6b217858ef6ef3c88dfd Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(13) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_13_.MP4 https://culturality.museum/omeka/files/original/3c0f09c0fac6b6c172db5142a7963f3a.MP4 80b47f69b9a0f752f1c91555d5745c61 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(12) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_12_.MP4 https://culturality.museum/omeka/files/original/072938b83d88bd710e884028ac09b7d4.MP4 d3cf2cbdc823568c35fbfaa0c603d208 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(11) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_11_.MP4 https://culturality.museum/omeka/files/original/59840d7dc731d61b3f7ed9b837fa7cf1.MP4 cc9845f35c1899b854f7c647aeef5092 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(10) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_10_.MP4 https://culturality.museum/omeka/files/original/705d8538abbb5110ccc32847a3681001.MP4 0cca70ae07b19080deab1d64196544ea Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(09) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_09_.MP4 https://culturality.museum/omeka/files/original/cd18ad4589e42d644b5fe26c9262ca44.MP4 6e18477272283418d9ccb502984168e3 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(07) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_07_.MP4 https://culturality.museum/omeka/files/original/6119fa28701aebf7e136f805cc7c2c54.MP4 087caa637d2b8893fe2a1ef4eba8c603 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(06) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_06_.MP4 https://culturality.museum/omeka/files/original/2078e7447fd66da679a8286a46659bda.MP4 41a646f3b5107849d8560aef3af9f99c Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(05) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_05_.MP4 https://culturality.museum/omeka/files/original/080bdcf85365e3edd204177c2acc9fb0.MP4 81f91439e182104ff9ff40f7ba7dabd1 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_04_-1.MP4 https://culturality.museum/omeka/files/original/ee5951db4a147187efa9f1f3a0edf7f8.MP4 81f91439e182104ff9ff40f7ba7dabd1 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(04) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_04_.MP4 https://culturality.museum/omeka/files/original/59b48555cdbb487a8ac8ceff1a18600e.MP4 a05bf99d58d62333c2f6ddef09ea65d2 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(03) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_03_.MP4 https://culturality.museum/omeka/files/original/f6bc177d49f3fae68688a7795e7d8b6d.MP4 173346653ca82c64151d23e43964f1f1 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(02) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_02_.MP4 https://culturality.museum/omeka/files/original/4c851068735ac77d458f95bfe81565d8.MP4 e27335bc14512ab9911c0b639250b970 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(01) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_01_.MP4 https://culturality.museum/omeka/files/original/46c3b0090eb7e1765b7195e48f5b0129.mp3 5227340c11c35318d483cd0c007d5e5c Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(03)​ Type The nature or genre of the resource Sound Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource audio/mp3 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. SOUND https://culturality.museum/omeka/files/original/50ad48c7165754cf18e5df02878cbe2b.mp3 1b05c4204cdf092803bf212d63993418 Dublin Core The Dublin Core metadata element set is common to 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:Taramundi traditional knifemaking Identifier An unambiguous reference to the resource within a given context 1964 Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(02)​ Type The nature or genre of the resource Sound Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource audio/mp3 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. SOUND https://culturality.museum/omeka/files/original/5146d45778c93978faca6c15fc72e5e4.mp3 40ad048a5d81a7de641637ca45f6dcd4 Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(01) Type The nature or genre of the resource Sound Contributor An entity responsible for making contributions to the resource iain License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. SOUND https://culturality.museum/omeka/files/original/4041da1055cbd65760b5084118f15aa2.jpg 3597cb777f55d249874072b8d35e86d8 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(14) 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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/90846c9ce47c580c18ce857183d5885e.jpg 63b5995d8a56456572aa95a30ff8c24a Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(13) 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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/ef4cb18eee454946722f1b7b1f91d133.jpg 4a2d0b32f371168439943ee8a9d77825 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(12) 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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/cf22fa6265d5358879db980bca4f02e7.jpg 581fc80bf6e683443c2b8aa14d91cace Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(11) 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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/2f8baff6cac5804e1f00c0861cb7a953.jpg bddb7de63b1d75791cb6124ad5f7ec65 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(10) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/35c7af8bf789aab47a8a52e535a1b539.jpg c4e085633297af1b6d479ac5f1ba0b9b Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(9) 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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/690f173bfd5f929a181a55e289bd7e2f.jpg 5d9791a815b66f7018f47469be8e65ac Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(8) 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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/c78d7f057bf8c7acc3555a64f803afe4.jpg 3c3555d5f4c36aa89cf4c72db9453a48 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(7) 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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/333b3b62845923f5f3afd7591de074e1.jpg 9d6a6f1593384bacf9f0719455d4b0a4 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(6) 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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/4fbfc9c4d7c31c49d91af57ef2c61c60.jpg 56c50b86abeb95df208fc4785b2798ad Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(05) 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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/55f849c1a46854361a96ac008b6c190e.jpg a661c1e4f519b83968c4c806a1f0935d Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(04) 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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/adef2300d3e09408c5bc0fe6d5e65fd4.jpg c5e9ea30fdd0734503474394024d21dc Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(03) 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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/177b7149252f34595f34f707495884fd.jpg d56d21b6e33b92cbd75fe9afcdd647aa Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/5d95c3b14f430ec350d1395689f7e3f5.jpg e6622d66680c43bb77644946b2f22e10 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(01) 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. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context The knife-making tradition of Taramundi is embedded in a broader cultural framework that includes complementary crafts, social practices, and oral traditions. Historically, the craft developed alongside blacksmithing and metalwork (UNIOVI_CP_04), as rural households produced agricultural tools, horseshoes, and hardware essential for farming. These activities share technical knowledge and workshop spaces, forming an integrated artisanal economy. Woodworking is another closely related practice. The production of knife handles relies on skills traditionally used in carpentry and decorative woodcraft, which remain significant in the region. Techniques such as carving and pyrography link knife-making to a wider repertoire of decorative arts, reinforcing aesthetic continuity across different objects. The craft also intersects with oral traditions, particularly narratives about family workshops, local inventiveness, and the symbolic value of handmade knives. These stories circulate within the community and are often shared during fairs and demonstrations, contributing to the transmission of intangible heritage. Social practices such as craft fairs and rural festivals provide spaces where knife-making interacts with gastronomy, music, and other artisanal displays. These events create a cultural ecosystem that situates the craft within collective celebrations of identity and heritage. Finally, contemporary initiatives connect knife-making with heritage tourism and educational programmes, integrating it into thematic routes that include traditional architecture, textile crafts, and culinary experiences. This network of related practices underscores the multifunctional role of Taramundi’s artisanal heritage, where technical skills, symbolic meanings, and social rituals converge. Field Worker Pérez Fernández, Lucía Rodríguez Pérez, Santiago Climate Threats Deforestation,Mining,Deterioration of material,Deterioration of space Economic Threats Insufficient financial resources,Insufficient renumeration,Rapid economic transformation,Poor transport connections Technological Threats Industrial production,Surge of new technologies,Use of modern materials Policy Threats Lack of conservation policy,Deficient policy implementation,Threatening regional planning policies,Inadequate management plans Conflicts Human encroachment on boundaries Demographic Threats Rural-urban migration,Degraded habitat Decontextualization Touristification,Overcommercialisation Globalisation New pastimes,Rapid sociocultural change Weakened Practice Aged practitioners,Diminishing youth interest,Halted transmission between generations,Reduced practice Loss Threats Material shortage,Loss of cultural significance,Loss of protective status Climate Actions Community Engagement,Educational programs,Collaboration with other organisations ,Governance management and green policies SDG Quality Education,Decent Work and Economic Growth,Sustainable Cities and Communities,Responsible Consumption and Production,Climate Action,Peace Justice and Strong Institutions,Partnerships for the Goals External ID UNIOVI_CP_03 Knowledge Knife-making in Taramundi is a craft that combines technical precision with cultural understanding. At its foundation, artisans need metallurgical expertise: the ability to forge, temper, and sharpen steel so that the blade achieves the right balance between hardness and flexibility. This requires not only manual skill but also an intuitive sense of temperature control and material behaviour. Equally essential is woodworking knowledge, as handles are traditionally carved from local hardwoods such as boxwood. Crafting a handle involves selecting and preparing the wood, shaping it for comfort and durability, and often adding decorative details that reflect regional aesthetics. The practice also demands familiarity with traditional tools and processes, including forges, anvils, and hydraulic hammers historically powered by water. While modern equipment is now common, artisans maintain techniques passed down through generations, ensuring continuity with the past. Beyond technical ability, knife-making calls for design awareness and cultural sensitivity. Each piece must meet functional needs while embodying the identity of Taramundi’s craft tradition. This includes understanding historical forms and adapting them to contemporary markets without losing authenticity. Finally, in today’s context, artisans often develop entrepreneurial skills, engaging with tourism and global distribution. This blend of technical mastery and adaptive knowledge sustains the craft as both a cultural heritage and an economic resource Knowledge Transfer Today, the transmission of knife-making knowledge in Taramundi occurs through a combination of family-based apprenticeship, formal training initiatives, and cultural tourism programmes. Traditionally, skills were passed down within households, where younger generations learned by observing and assisting experienced artisans. This model persists, ensuring continuity of techniques and values, although it now coexists with more institutionalised forms of learning. Several local workshops and craft cooperatives offer structured courses for aspiring artisans and enthusiasts. These programs often include practical demonstrations and hands-on sessions, allowing participants to engage directly with forging, tempering, and handle-making processes. Museums and interpretation centres in Taramundi also play a key role, presenting the historical evolution of the craft and organising educational activities aimed at preserving intangible heritage. Transmission is not limited to physical spaces. Digital platforms and social media have become complementary tools, enabling artisans to share tutorials, showcase techniques, and connect with global audiences. This online presence broadens access to knowledge while reinforcing the cultural significance of the practice. The timing of transmission is continuous but often intensifies during festivals and craft fairs, where artisans demonstrate their skills publicly. These events serve as both educational and promotional spaces, fostering intergenerational dialogue and community engagement. Practitioners The primary bearers of the Taramundi knife-making tradition are local artisans, many of whom belong to families with a long history in the craft. These practitioners often operate small workshops where production combines traditional techniques with the selective modernisation of some processes. Their role is not only technical but also cultural, as they safeguard the authenticity of the craft and transmit its values to future generations. Historically, knife-making was a male-dominated activity, reflecting the gendered division of labour in rural Asturias. Men typically handled forging and assembly, while women contributed to complementary tasks such as preparing wooden handles or managing household economies linked to craft production. Although this division persists in some cases, contemporary practice shows greater flexibility, with women increasingly involved in both technical and managerial aspects of the trade. Within the community, certain individuals assume special responsibilities as cultural mediators. Master artisans, often widely recognised for their expertise and reputation, play a key role in teaching apprentices and maintaining quality standards. They also participate in public demonstrations, fairs, and educational programs, reinforcing the visibility of the craft beyond local boundaries. Additionally, institutional actors (such as museums, craft cooperatives, and tourism initiatives) support transmission and promotion, but the core responsibility remains with the artisans themselves. Their work embodies both material skill and intangible heritage, positioning them as custodians of a tradition that continues to adapt while preserving its cultural essence. Function Today, Taramundi knife-making serves as both an economic resource and a cultural emblem for the local community. Its primary social function lies in sustaining rural livelihoods through artisanal production and tourism. Workshops and craft stores attract visitors seeking authentic handmade goods, creating employment and reinforcing the viability of small-scale economies in an area historically marked by depopulation. Culturally, the practice operates as a symbol of identity and continuity. Knives are not merely utilitarian objects, as they embody values of craftsmanship, resilience, and adaptation to environmental constraints. For residents, the tradition affirms a sense of belonging and pride in local heritage, while for outsiders it represents an image of authenticity associated with Asturias’ rural culture. The craft also fosters intergenerational dialogue, as older artisans transmit knowledge to younger practitioners and to visitors through demonstrations and educational programmes. This interaction strengthens community cohesion and positions the practice as a living heritage. In contemporary discourse, Taramundi knives have acquired a broader meaning as markers of sustainable production and cultural tourism. They exemplify how traditional skills can coexist with modern market dynamics, offering a narrative of heritage preservation aligned with economic innovation. Origins and change The origins of knife-making in Taramundi date back to at least the eighteenth century, when rural households began to complement subsistence farming with small-scale metalworking. Historical records indicate that the availability of iron ore and abundant water streams enabled the installation of hydraulic hammers and forges, creating the technological basis for the craft. Initially, production was highly localised and oriented toward practical needs: knives and cutting tools for domestic and agricultural use. Over time, the practice evolved in response to social and economic changes. During the nineteenth century, Taramundi artisans consolidated their reputation for quality, expanding distribution to regional markets. The craft remained family-based, with transmission occurring through apprenticeship within the household. Gender roles were clearly defined: men managed forging and assembly, while women contributed to auxiliary tasks and trade. The twentieth century brought significant transformations. Industrialisation in Asturias bypassed Taramundi, but modernization affected the craft through the introduction of new materials such as stainless steel and mechanized tools. These changes improved efficiency without erasing traditional techniques, which continued to define the identity of the product. In recent decades, the function of knife-making has shifted from purely utilitarian to symbolic and economic. The rise of cultural tourism and heritage valorisation positioned Taramundi knives as artisanal goods associated with authenticity and sustainability. Transmission now occurs not only within families but also through workshops, museums, and digital platforms, reflecting a hybrid model that combines tradition with institutional and global outreach. Thus, the practice illustrates a dynamic trajectory: from a rural survival strategy to a heritage-based economic resource, adapting to technological, social, and cultural transformations while preserving its core art Organisations The knife-making tradition of Taramundi is supported by a diverse network of organisations that combine heritage preservation, economic development, and cultural promotion. At the local level, family-run workshops and artisan cooperatives remain the backbone of the craft, ensuring continuity of production and knowledge transmission. These entities often collaborate with tourism initiatives and participate in fairs to showcase their work. Among public institutions, the Municipality of Taramundi actively promotes the craft as part of its rural development strategy, while the Principality of Asturias includes knife-making in programmes for safeguarding intangible cultural heritage. These bodies provide logistical and financial support for events, training, and infrastructure as much as they can. A key cultural institution is the Museo de la Cuchillería de Taramundi, which preserves historical artefacts, documents the evolution of techniques, and offers live demonstrations in its museum-workshop. This space functions as an educational hub, reinforcing the craft’s visibility and cultural significance. In addition, craft cooperatives and artisan associations facilitate collective marketing and quality control. Historically, Taramundi artisans were also linked to a nation-wide association of traditional blacksmiths, an organisation that promoted traditional metalworking and included knife-makers among its members. For several years, this association was directed by a master blacksmith from Santalla d’Ozcos, highlighting the area’s leadership in the field. Places The practice of knife-making in Taramundi is closely linked to a network of spaces that combine production, heritage interpretation, and tourism. Artisan workshops remain the primary sites where the craft is actively performed. These small-scale facilities, often family-run, are scattered throughout the municipality and serve as both workplaces and points of sale, allowing visitors to observe traditional techniques in real time. A key institutional space is the Museo de la Cuchillería de Taramundi, which plays a central role in safeguarding and promoting the craft. The museum houses a collection of historical pieces and tools, illustrating the evolution of knife-making from its origins to the present. It also includes a musealised traditional workshop. This setting functions as an educational platform, reinforcing the transmission of knowledge and raising awareness of the craft’s cultural significance. In addition to the museum, interpretation centres and craft cooperatives contribute to the visibility of the practice, organising exhibitions, training sessions, and thematic routes that integrate knife-making into broader narratives of rural heritage. Public spaces such as local fairs and festivals also serve as venues for showcasing the craft, strengthening its social and economic role within the community. Artefacts The tradition encompasses a rich material culture that includes both the produced objects and the tools and machinery required for their fabrication. The most iconic products are folding knives (navajas/navayas) and fixed-blade knives, distinguished by their steel blades and wooden handles, often crafted from local hardwoods. Handles may feature decorative carvings, pyrography, or metal inlays, adding aesthetic value to functional objects. In addition to knives, artisans produce scissors, small axes, and specialised cutting tools, reflecting the craft’s historical link to domestic and agricultural needs. The production process relies on a set of traditional tools that remain central despite technological modernisation. These include forges and anvils for shaping steel, tongs and hammers for manual manipulation, and grinding wheels for sharpening and finishing blades. Historically, workshops employed hydraulic hammers powered by water mills, a distinctive feature of Taramundi’s technological heritage that enabled efficient forging in a rural setting. Today, electric hammers and mechanized grinders complement these traditional implements, but manual techniques continue to define the craft’s authenticity. Woodworking requires its own set of artefacts: carving knives, chisels, and lathes for shaping and smoothing handles, as well as clamps and templates to ensure precision. Decorative work may involve burning tools for pyrography or fine chisels for engraving. Some more advanced workshops use laser engravers. Finally, auxiliary artefacts such as branding stamps (used to imprint the maker’s mark) play a symbolic role, guaranteeing origin and quality. Climate Threats Description The tradition faces several environmental challenges that affect its sustainability. Deterioration of material refers to the increasing difficulty of sourcing high-quality steel and suitable hardwoods for handles, which raises production costs and limits artisanal standards. Deterioration of space is linked to rural depopulation and the abandonment of traditional workshops, reducing the physical infrastructure necessary for transmission and practice. While deforestation is not occurring in the form of large-scale forest loss, a significant risk lies in the replacement of native hardwood species (such as boxwood) with fast-growing invasive species. These alternatives do not provide the same quality for knife handles, compromising both durability and aesthetic value. This ecological shift directly impacts the material culture of the craft. Finally, mining, although less active today, historically altered landscapes and water systems. Any resurgence of extractive activities could further degrade the environment and affect resources essential for artisanal production. These factors highlight the need for proactive measures to ensure resource management, maintain traditional species, and preserve the spaces where the craft is practiced. Economic Threats Description Knife-making in Taramundi faces economic vulnerabilities. Insufficient financial resources and low remuneration make it difficult for artisans to sustain production and invest in modern equipment without compromising traditional methods. Rapid economic transformation, including the shift toward service-based economies and tourism, creates uncertainty for crafts that rely on niche markets. Additionally, poor transport connections in rural Asturias limit distribution and access to broader markets, reducing competitiveness compared to industrial producers. Technological Threats Description The knife-making tradition of Taramundi faces technological pressures that challenge its artisanal character. Industrial production introduces mass-produced knives at lower prices, reducing the competitiveness of handcrafted pieces and shifting consumer preferences toward standardized products. The surge of new technologies, including automated forging and digital design, risks eroding traditional skills if artisans adopt mechanization excessively or if younger generations perceive manual techniques as obsolete. Similarly, the use of modern materials, such as plastics or synthetic composites for handles, threatens the integrity of the craft by replacing native hardwoods and altering the aesthetic and functional qualities that define Taramundi knives. These factors collectively create tension between innovation and heritage, requiring strategies that balance adaptation with authenticity. Policy Threats Description It lacks a robust conservation policy at national or regional levels, and existing measures often suffer from deficient implementation. Regional planning policies that prioritise urban development or large-scale infrastructure can indirectly threaten rural heritage spaces. Furthermore, inadequate management plans for cultural tourism and craft promotion risk overcommercialisation or neglect, leaving artisans without clear frameworks for sustainable growth. Conflicts Description Knife-making in Taramundi is not exposed to war or political intolerance. However, human encroachment on boundaries can indirectly impact the craft. This refers to changes in land use and rural transformation, such as urban expansion or infrastructure projects that alter traditional spaces and disrupt the ecological balance needed for raw materials (e.g., hardwood species for handles). While the risk is moderate compared to other threats, it underscores the vulnerability of artisanal practices to broader territorial and environmental pressures. Demographic Threats Description Taramundi faces rural-urban migration, which accelerates depopulation and reduces the pool of potential artisans. This demographic shift weakens intergenerational transmission and limits the viability of workshops. Degraded habitat, linked to changes in land use and forestry practices, affects access to traditional materials such as native hardwoods, indirectly impacting production quality. Decontextualization Description The knife-making tradition of Taramundi faces risks linked to cultural decontextualisation. Touristification can lead to prioritising quick demonstrations for visitors over authentic production processes, reducing the depth of artisanal knowledge. Overcommercialisation threatens the integrity of the practice by encouraging mass production or simplified designs to meet market demand, compromising quality and heritage values. Globalisation Description Globalisation introduces rapid socio-cultural changes that alter consumption patterns and values, reducing interest in traditional crafts among younger generations. The rise of new pastimes and digital entertainment competes with artisanal learning, making knife-making less attractive as a career or hobby. Weakened Practice Description The knife-making tradition of Taramundi faces demographic and social challenges that weaken its continuity. Many current practitioners are aged artisans, and the number of active workshops has declined over recent decades. This situation is compounded by diminishing youth interest, as younger generations often seek employment outside rural areas or in sectors perceived as more profitable and modern. Consequently, transmission between generations is increasingly interrupted, reducing opportunities for experiential learning and apprenticeship. These factors lead to a reduction in practice, limiting production capacity and the visibility of the craft. While some artisans show willingness to adapt through innovation and tourism, the overall trend reflects a fragile balance between heritage preservation and generational renewal. Loss Threats Description The craft risks loss of knowledge due to declining transmission and aging practitioners. Material shortages, especially of high-quality steel and native hardwoods, compromise production standards. Over time, the practice may suffer loss of cultural significance, becoming perceived as a tourist attraction rather than a living tradition. Finally, the loss of productive status (as artisanal work becomes economically marginal) threatens its sustainability. Safeguarding activities Several initiatives have been implemented to protect and promote Taramundi’s knife-making tradition. These include the creation of artisan cooperatives that support collective marketing and quality standards, and the establishment of training programs and workshops aimed at transmitting skills to younger generations and craft enthusiasts. Cultural tourism strategies have integrated knife-making into heritage routes and fairs, increasing visibility and economic viability. Additionally, the Museo de la Cuchillería plays a key role in safeguarding knowledge through exhibitions and live demonstrations, ensuring that the craft remains accessible and valued as part of Asturias’ intangible heritage. The mayor of Taramundi also told the UNIOVI team in a meeting that for years they have had a centre available in the town with workspaces that artisans can rent, but many other external factors (such as the price of housing or the lack of public services in the area) cause that the few people who settle there with that plan do not stay for long. State of the practice declining Social sustainability This craft contributes significantly to social sustainability through multiple dimensions. First, it strengthens community development and social cohesion, as the practice is deeply rooted in family workshops and local networks that share knowledge and collaborate in production and marketing. This fosters intergenerational solidarity, with skills transmitted from parents to children and increasingly through training programs and craft schools, ensuring quality education linked to cultural heritage. Regarding gender equality and inclusivity, although traditionally a male-dominated activity, recent decades have seen growing participation of women in design, management, and sales roles, promoting equal opportunities. There are also some female artisans, although it remains a predominantly male activity. The integration of knife-making into cultural tourism and local entrepreneurship also creates jobs and helps prevent rural depopulation, supporting community resilience. The craft reinforces social cohesion by nurturing a strong sense of identity and pride in local traditions, which reduces social fragmentation and strengthens belonging. Additionally, its connection to sustainable tourism and cultural initiatives positions knife-making as a driver of rural vitality, ensuring that communities remain active and socially balanced. Environmental sustainability The knife-making tradition in Taramundi shows a moderate but growing commitment to environmental sustainability. One of its main contributions lies in the use of locally sourced materials: artisans often work with regional woods for handles and rely on nearby suppliers for steel, reducing transportation-related emissions and supporting short supply chains. This local approach not only minimises the carbon footprint but also strengthens the link between craft and territory. In terms of waste management, the production process is relatively low-impact, as workshops operate on a small scale and reuse materials whenever possible. Metal scraps and wood offcuts are often repurposed or recycled, and the absence of mass production limits industrial waste. Energy consumption remains modest, with many artisans using traditional manual techniques combined with small electric tools, which are more efficient than large-scale machinery. Pollution prevention is inherent to the craft’s artisanal nature: chemical treatments are minimal, and finishes tend to favor natural oils or varnishes. However, challenges persist regarding the sourcing of steel, which depends on external industrial processes. Recent initiatives, such as promoting eco-design and integrating renewable energy in workshops, indicate a growing awareness of sustainability, ensuring that this heritage adapts responsibly to contemporary environmental concerns. Economic sustainability Taramundi’s knife-making tradition supports economic sustainability by linking heritage to diversified income streams. Artisans sell directly in local workshops, at craft fairs, and increasingly through digital platforms, which broadens market access and reduces dependence on seasonal tourism. This adaptability strengthens resilience in a rural economy. The craft also generates complementary activities (such as guided visits, demonstrations, and museum exhibitions) creating synergies with hospitality and gastronomy. These connections help distribute income across the community and prevent rural depopulation. Place The town or city Municipality of Taramundi and other villages, such as Abraído, Aguillón, Bres, Cabaniñas, Esquíos, Llan, Loutima, Mousende, Nogueira, Río del Louro, Vega de Llan, Santa Eulalia de Oscos and Vilanova. Place Description Asturias, located in the north of Spain along the Cantabrian coast, is a region characterised by its rugged mountainous terrain, abundant rainfalls all year round, and lush vegetation. Its geography is dominated by the Cantabrian Mountains, which historically shaped settlement patterns and economic activities. The region’s natural environment fostered a mixed economy based on agriculture, livestock, and artisanal production, complemented by mining and, later, industrial development in coastal areas. Asturias has long maintained a strong cultural identity rooted in rural traditions, communal practices, and a distinctive linguistic heritage, including Asturian (bable) and Eo-naviego (a western variant deeply influenced by Galician). Within this broader context, Taramundi occupies a unique position in the westernmost part of Asturias, near the border with Galicia. It is a small, mountainous municipality characterised by steep valleys, dense forests, and a network of rivers that historically provided energy for hydraulic systems. These natural resources were crucial for the development of local crafts, particularly metalworking. The isolation of Taramundi, combined with its access to iron ore and waterpower, enabled the emergence of a specialized economy centred on blacksmithing and knife-making from at least the eighteenth century. This artisanal tradition coexisted with subsistence farming, creating a distinctive socio-economic structure where households combined agricultural labour with craft production. Socially, Taramundi was organised around extended family units and small hamlets, fostering strong kinship ties and cooperative labour systems. Cultural practices reflected this rural organisation, with seasonal rhythms and communal festivities reinforcing local identity. The craft of knife-making became not only an economic activity but also a cultural marker, symbolizing skill, resilience, and adaptation to environmental constraints. Over time, these practices co Prim Media 1965 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Taramundi traditional knifemaking Type The nature or genre of the resource Intangible Description An account of the resource The Taramundi knife-making tradition is an artisanal practice rooted in the rural economy of western Asturias, Spain. It consists of the handcrafted production of knives, folding blades, and other cutting tools, combining metalworking with woodcraft. This practice is distinguished by its integration of functional design and aesthetic refinement, resulting in objects that are both utilitarian and symbolic of local identity. Historically, knife-making in Taramundi emerged as a complementary activity to subsistence farming during the eighteenth century, when access to iron ore and abundant water resources enabled the development of small-scale metallurgy. Artisans employed hydraulic hammers and forges powered by local streams, creating a distinctive technological landscape that shaped the craft’s evolution. The knives produced were primarily intended for domestic and agricultural use, reflecting the practical needs of rural households. The process involves several stages: forging and tempering steel blades, shaping wooden handles (often from native species such as boxwood) and assembling the components with meticulous attention to durability and balance. Traditional knives are characterized by their simplicity, ergonomic design, and decorative elements such as hand-carved motifs or inlaid metal details. Over time, the craft incorporated innovations, including stainless steel and modern tools, while preserving core artisanal techniques transmitted through generations. Beyond its technical dimension, Taramundi knife-making embodies cultural values of resilience, adaptability, and craftsmanship. It represents a form of intangible heritage that connects material culture with social identity, as the craft historically reinforced household economies and community cohesion. Today, it functions as a marker of authenticity and local pride, attracting collectors and tourists who seek objects that symbolise continuity with the past. In contemporary contexts, the practice has b Language A language of the resource Asturian,Spanish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 776 Source A related resource from which the described resource is derived asturiasmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. García Grinda, J. L. (2011). Turismo y rehabilitación del patrimonio natural y sociocultural en zonas del interior: potencialidad y riesgos. Revista Universitaria de Turismo y Patrimonio, 2(1), 45–62. Pérez de Castro, R. (1985). Artesanía de Taramundi: Cuchillos y navajas. Narria: Estudios de artes y costumbres populares, (39–40), 24–30. Universidad Autónoma de Madrid. ISSN 0210-9441 Quintana López, P. (2005). La labranza y transformación artesanal del hierro en Taramundi y los Oscos. Siglos XVI-XXI. Aportación a su conocimiento (2 volumes, 848 pp.). Asociación “Os Castros” de Taramundi. Quintana, J. C., & Muñiz, I. G. (2025, July 8). Juan Carlos Quintana, Museo de la Cuchillería: “Queremos contar cómo se utilizaba la madera”. Revista FusionAsturias. Retrieved from https://fusionasturias.com/concejos/taramundi/juan-carlos-quintana-museo-de-la-cuchilleria-queremos-contar-como-se-utilizaba-la-madera.htm Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 01/12/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. 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IMAGE https://culturality.museum/omeka/files/original/6d24a666ed990086f1d760f61dcebc5a.jpg f96cd44b504c46a91f1b6d9c2df5ca29 Dublin Core The Dublin Core metadata element set is common to 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: Yellow Broom Identifier An unambiguous reference to the resource within a given context 238 Panorama Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Yellow Broom Photosphere Type The nature or genre of the resource Panorama Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:07:08 16:45:17 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/8d7c8f771ef3ebc8a022c9bef88f4a15.jpg 3b318fae240650210066eff3747a5f70 Dublin Core The Dublin Core metadata element set is common to 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: Yellow Broom Identifier An unambiguous reference to the resource within a given context 238 Panorama Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Yellow Broom Photosphere Type The nature or genre of the resource Panorama Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:07:08 16:43:30 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/811674b7f3b3c3827f1bfb964cfc6f17.jpg a8db3763e8b9994e2c04a97418bee12d Dublin Core The Dublin Core metadata element set is common to 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: Yellow Broom Identifier An unambiguous reference to the resource within a given context 238 Panorama Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Yellow Broom Photosphere Type The nature or genre of the resource Panorama Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:07:08 16:39:42 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/967c5b9c7c5fb7b49cc21f024615e75b.jpg ed0711ef71d884f188ed25db5f59f8a1 Dublin Core The Dublin Core metadata element set is common to 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: Yellow Broom Identifier An unambiguous reference to the resource within a given context 238 Panorama Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Yellow Broom Photosphere Type The nature or genre of the resource Panorama Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:07:08 16:23:26 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/2d1dfb1599854d22d31e28cc75e5e92e.jpg bb9f9b349f4028603ee25b791fa75dc2 Dublin Core The Dublin Core metadata element set is common to 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: Yellow Broom Identifier An unambiguous reference to the resource within a given context 238 Panorama Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Yellow Broom Photosphere Type The nature or genre of the resource Panorama Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:07:08 16:22:31 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/2aa464f5267c414995d6d0288439466c.jpg c4ade9876d96ddf14aff8e340b797bd5 Dublin Core The Dublin Core metadata element set is common to 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: Yellow Broom Identifier An unambiguous reference to the resource within a given context 238 Panorama Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Yellow Broom Photosphere Type The nature or genre of the resource Panorama Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:07:08 16:21:22 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/49932759ec8b99d86e42926fb15cfc92.jpg 1e72671aab6e5e06058b1dbd5dd0a77c Dublin Core The Dublin Core metadata element set is common to 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: Yellow Broom Identifier An unambiguous reference to the resource within a given context 238 Panorama Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Yellow Broom Photosphere Type The nature or genre of the resource Panorama Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:07:08 16:20:39 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/bec2ec682ecc3c452209d11dffc5e924.jpg 63155b40f8bd79c2f2848e1bea9ba961 Dublin Core The Dublin Core metadata element set is common to 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: Yellow Broom Identifier An unambiguous reference to the resource within a given context 238 Panorama Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Yellow Broom Photosphere Type The nature or genre of the resource Panorama Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:07:08 13:33:08 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/73ddce157ea16c8f36976cb8b5278a1a.jpg 8a0f13b7b37039395c97603724157577 Dublin Core The Dublin Core metadata element set is common to 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: Yellow Broom Identifier An unambiguous reference to the resource within a given context 238 Panorama Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Yellow Broom Photosphere Type The nature or genre of the resource Panorama Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:07:08 13:06:43 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/abddebc762631ed820115e4c23002ca7.jpg 217c684bfd770a6defcb04793aab03d8 Dublin Core The Dublin Core metadata element set is common to 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: Yellow Broom Identifier An unambiguous reference to the resource within a given context 238 Panorama Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Yellow Broom Photosphere Type The nature or genre of the resource Panorama Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:07:08 13:04:25 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/4b2b2bac171557622656577f4ee60ed2.jpg 3a2a957ad93fa552cb0bfce9d08e2c44 Dublin Core The Dublin Core metadata element set is common to 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: Yellow Broom Identifier An unambiguous reference to the resource within a given context 238 Panorama Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Yellow Broom Photosphere Type The nature or genre of the resource Panorama Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:07:08 12:58:32 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/73055c2a448ee50cbe63e7e3bb668606.jpg 2bb15a2aa5e3fec2d45fc291e6eabb48 Dublin Core The Dublin Core metadata element set is common to 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: Yellow Broom Identifier An unambiguous reference to the resource within a given context 238 Panorama Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Yellow Broom Photosphere Type The nature or genre of the resource Panorama Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025:07:08 12:57:55 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE