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          <name>Dublin Core</name>
          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Museum: University of St Andrews</text>
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            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
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                  <text>4</text>
                </elementText>
              </elementTextContainer>
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      <name>Intangible</name>
      <description/>
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        <element elementId="130">
          <name>Prim Media</name>
          <description/>
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            <elementText elementTextId="17130">
              <text>1252</text>
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        <element elementId="233">
          <name>Context</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17134">
              <text>The area where Thenman grew up and lives has been traditionally and culturally connected to ceramics for several generations. There is a strong cultural connection to ceramic objects. There's also a connection to folkmusic, as many potters in the region have also been folk musicans, which has affected the music of the area since the ceramisist have been traveling to visit and work in different studios and have learnt folk music and have spread songs.</text>
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        <element elementId="236">
          <name>Field Worker</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17135">
              <text>Ulrika Jäger, Sara Olsson</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="191">
          <name>Economic Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17136">
              <text>Insufficient renumeration,Increased income disparity,Arduous training</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="192">
          <name>Technological Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17137">
              <text>Industrial production,Surge of new technologies,Use of modern materials</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="193">
          <name>Policy Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17138">
              <text>Threatening regional planning policies</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="198">
          <name>Weakened Practice</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17139">
              <text>Aged practitioners,Diminishing youth interest,Reduced practice</text>
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          </elementTextContainer>
        </element>
        <element elementId="201">
          <name>SDG</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17140">
              <text>Sustainable Cities and Communities,Responsible Consumption and Production</text>
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          </elementTextContainer>
        </element>
        <element elementId="187">
          <name>External ID</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17141">
              <text>RV_CP_05</text>
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        </element>
        <element elementId="276">
          <name>Knowledge</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17142">
              <text>Thorough understanding of the mechanics and nature of clay, kilns, tools, glazes, chemistry (either from learning by doing or with understanding the theory too), as well as artistic skills.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="230">
          <name>Knowledge Transfer</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17143">
              <text>The potters usually have very long, solid and specific knowledge and skills which they've gathered from education, courses and from learning by doing and learning together.</text>
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        <element elementId="277">
          <name>Practitioners</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17144">
              <text>There's nine potters in Arvika Konsthantverk today, with two living outside the region. There's been prominent men and women as practicioners. Compared to earlier potters in the area, the potters today work more individually, whereas before it was more of a team effort, but they are joint in the co-op.</text>
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          </elementTextContainer>
        </element>
        <element elementId="223">
          <name>Function</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17145">
              <text>Edane, Arvika, has a long tradition as an area with a strong tradition of practicing ceramists. Arvika konsthantverkare, of which Kristine Thenman is a member, has existed for over 100 years. It's a pride of the area.</text>
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        </element>
        <element elementId="278">
          <name>Origins and change</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17146">
              <text>The culture of pottery making comes from the fact that there's a clay vein in the area, so the history of potters there goes back a long time. There's been families that have learnt in tradition, nowadays it's taught in </text>
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          </elementTextContainer>
        </element>
        <element elementId="279">
          <name>Organisations</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17147">
              <text>Rackstadmuseet and Kyrkerud folk high school (south west of this area) where it's possible to learn pottery.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="280">
          <name>Places</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17148">
              <text>Several artisan workshops in the area as well as old pottery studios such as the Pottery museum at Övre stortorpet.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="292">
          <name>Artefacts</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17149">
              <text>Ceramic utensils, applied arts, (plates, bowls, mugs, etc.). Everyday objects needed in a home: bowls and dishes for food and storage, jugs for drinks, candlesticks, pots for storage, for plants. Art of decorating public spaces and the home.</text>
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        </element>
        <element elementId="286">
          <name>Economic Threats Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17150">
              <text>It's difficult for the unknowing potential customer to understand the work and knowledge behind the artisans artefacts. Since it's a matter of applied arts, it's also competing with cheaper production of similar items, also due to increased income disparity. Getting to the knowledge needed to make these types of artefacts also requiers a long training.</text>
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          </elementTextContainer>
        </element>
        <element elementId="282">
          <name>Technological Threats Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17151">
              <text>There could be argued that these are threats due to mass production of cheaper products, as well as there might be machines that can do similar products. Still the public seem to want craft as a complement industry products.</text>
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          </elementTextContainer>
        </element>
        <element elementId="287">
          <name>Policy Threats Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17152">
              <text>Not a regional planning question, but rather on a national level, there's a lack of politics to support the area.</text>
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          </elementTextContainer>
        </element>
        <element elementId="285">
          <name>Weakened Practice Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17153">
              <text>The practitioners are getting older and there's a reduced practice. If there's a diminishing youth interest is harder to tell.</text>
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          </elementTextContainer>
        </element>
        <element elementId="298">
          <name>State of the practice</name>
          <description/>
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            <elementText elementTextId="17154">
              <text>declining</text>
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        <element elementId="294">
          <name>Environmental sustainability</name>
          <description/>
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            <elementText elementTextId="17155">
              <text>Clay is bought from other countries, and it could be made with local clay since the local material is plentiful and has high quality. The glazes can have large enviormental footprints. The kilns in the area are both wood fired and electrical. Thenman and Stuart Beck expresses in an interview that they would like to se a more sustainable production that in a natural way connects with the local tradition.</text>
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          </elementTextContainer>
        </element>
        <element elementId="295">
          <name>Economic sustainability</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17156">
              <text>Difficult to make a living just being a potter. Thenman and Stuart Beck has expressed that it's also irrational to think that it would be economical to make and sell the earthenware clay artefacts that are from the area (from the work that goes into the whole process)</text>
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          </elementTextContainer>
        </element>
        <element elementId="155">
          <name>Place</name>
          <description>The town or city</description>
          <elementTextContainer>
            <elementText elementTextId="17157">
              <text>Edane, Arvika, Sweden</text>
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        </element>
        <element elementId="291">
          <name>Place Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17158">
              <text>Edane is a locality in Arvika municiplaity, in region Värmland, Sweden, with about 700 inhabitants. It's situated by the northen shore of lake Värmlen and also is part of the area of the clay vein in western Värmland. In the area around Arvika and Edane, several potters have lived and worked. In the late 1800's, there's was an artist colony establised in the area, and the local Arvika konsthantverk, a co-operative for applied arts and crafters, was established. At most during that time about a dozen potery studios were running. The municipality of Arvika is to this day seen as a stonghold of culture in Värmland. Arvika is a municipality of 25 000, with about 15 inhabitants/km2. The largest employer in Edane is smaller industries.</text>
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        </element>
        <element elementId="108">
          <name>Wiki</name>
          <description>A link to a wiki entry about this item.</description>
          <elementTextContainer>
            <elementText elementTextId="17160">
              <text>https://culturality.museum/wiki/index.php/(Earthenware)_ceramics</text>
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          </elementTextContainer>
        </element>
      </elementContainer>
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        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="17121">
                <text>(Earthenware) ceramics</text>
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          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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              <elementText elementTextId="17122">
                <text>Intangible</text>
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            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="17123">
                <text>The potters of Arvika have worked almost exclusivly with earthenware clay, which red clay holds a warm tone which can be experienced as connected to a rustic, comforting and "earthen" expresison. Today most buy their clay from retailers, but there's also been projects relating to rediscovering the clay in the landscape, of which this region is rich, and to "explore the conditions for producing utility and art ceramics of good technical quality from local clay", what is what the region has been good at before. Part of the project was also expreimenting with glazes that would with the clay.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="17125">
                <text>Swedish</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="78">
            <name>Extent</name>
            <description>The size or duration of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="17126">
                <text> x  x </text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="17127">
                <text>iain</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="17128">
                <text>590</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="17129">
                <text>varmlandmap</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="75">
            <name>References</name>
            <description>A related resource that is referenced, cited, or otherwise pointed to by the described resource.</description>
            <elementTextContainer>
              <elementText elementTextId="17131">
                <text>https://www.hemslojd.se/det-leriga-experimentet/&#13;
https://visitvarmland.com/arvika/kultur-historia/museum/krukmakerimuseet-pa-ovre-stortorpet</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="59">
            <name>Date Submitted</name>
            <description>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).</description>
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              <elementText elementTextId="17132">
                <text>02/09/2025</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="52">
            <name>Alternative Title</name>
            <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
            <elementTextContainer>
              <elementText elementTextId="17133">
                <text>(Lergods)keramik</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="81">
            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="17159">
                <text>current,59.6303487,12.8132104;</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
      <elementSet elementSetId="4">
        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
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          <element elementId="100">
            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="17124">
                <text>TEXT</text>
              </elementText>
            </elementTextContainer>
          </element>
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  </item>
  <item itemId="1255" public="1" featured="0">
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      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="51">
                  <text>Museum: University of St Andrews</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="67">
                  <text>4</text>
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              </elementTextContainer>
            </element>
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      <name>Intangible</name>
      <description/>
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        <element elementId="233">
          <name>Context</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17175">
              <text>The mittens are worn with the local folk costumes in the area. Also, a local ethnologist, Ulrika Jäger, is researching the connection of the symbolism of the flowers to the strong worship of Mother Mary in this area, before the reformation, when the valleys were a pilgrimage route to Nidaros, modern day Trondheim. The flowerson the mittens seem to be the same as the ones as the once symbolizing "Mary's plants".</text>
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        </element>
        <element elementId="236">
          <name>Field Worker</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17176">
              <text>Ulrika Jäger, Kajsa Stinnerbom</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="191">
          <name>Economic Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17177">
              <text>Insufficient renumeration</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="192">
          <name>Technological Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17178">
              <text>Industrial production</text>
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          </elementTextContainer>
        </element>
        <element elementId="198">
          <name>Weakened Practice</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17179">
              <text>Aged practitioners,Diminishing participation,Diminishing youth interest,Halted transmission between generations,Reduced practice</text>
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          </elementTextContainer>
        </element>
        <element elementId="199">
          <name>Loss Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17180">
              <text>Loss of knowledge,Loss of protective status</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="201">
          <name>SDG</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17181">
              <text>Sustainable Cities and Communities,Responsible Consumption and Production</text>
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          </elementTextContainer>
        </element>
        <element elementId="187">
          <name>External ID</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17182">
              <text>RV_CP_06</text>
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        </element>
        <element elementId="276">
          <name>Knowledge</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17183">
              <text>To make the Dalby nålbidningn there's a special technique that's slightly different from other types of nålbindning. This particular technique is shown and mentioned as "Dalbytekniken", the Dalby technique in the book:  (5.112) i "Vinterblomster. Nålbundna vantar från Dalby i Värmland" (page 36). It requiers a knowledge of "krus", embroidery, of the flowers and the local practice. The craft requiers both practical skill, cultural and traditional knowledge.</text>
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        </element>
        <element elementId="230">
          <name>Knowledge Transfer</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17184">
              <text>The technique and tradition are today taught by Bengtsson. She preferes teaching it personally to one pupil at the time as it's advanced and she wants to make sure she can show and teach all details. She's also held courses and taught in schools for ages 13-16 in textile craft.</text>
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          </elementTextContainer>
        </element>
        <element elementId="277">
          <name>Practitioners</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17185">
              <text>Women have practices and taught this craft and it's been passed down in generations. To sell this type of crafts have before been an important way to make additional income. Today very few are making and selling these products. There's also somewhat of a notion that it's difficult and that there's a particular way to do it, which can frighten potential new practioners.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="223">
          <name>Function</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17186">
              <text>The mitten is known for it's connection and tradition in the Klarälvdalen/ Klara river valley in the northen part of Värmland. The mitten holds an imporant meaning for the cultural heritage in the area. The particular technique and the choice of flowers are special for the region.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="278">
          <name>Origins and change</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17187">
              <text>This technique has been documentet since the viking age. There are also reason to believe that the technique was also transfered to the region from the immigrating Finns in the northen part of Värmland during the 16- and 1700.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="279">
          <name>Organisations</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17188">
              <text>Utmarksmuseet, "the Outfield museum", www.utmark.se.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="280">
          <name>Places</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17189">
              <text>The area of the Klarälvdalen / Klara river valley and the parish of Dalby, Värmland.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="292">
          <name>Artefacts</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17190">
              <text>Primarily mittens but also other garments and clothes made in the technique, and usually here also decorated with the particular flowers. </text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="286">
          <name>Economic Threats Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17191">
              <text>There's no economy in making a pair of mittens and selling them for a resonable or even good price.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="282">
          <name>Technological Threats Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17192">
              <text>It could be argued that the embroidery could be made industrially, but the nålbindning could not.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="285">
          <name>Weakened Practice Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17193">
              <text>Few are practicing, few are learning, few know how to make these types of products.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="290">
          <name>Loss Threats Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17194">
              <text>Loss of knowledge due to less practicing. Unsure if it has had a protected status, but it does not right now.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="298">
          <name>State of the practice</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17195">
              <text>endangered</text>
            </elementText>
          </elementTextContainer>
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Värmland förr och nu 1991. ISBN 9185224308&#13;
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                <text>Characteristic smoke from the charring, man hitting the pile with a hammer</text>
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                <text>Jean-Pierre Hjorth </text>
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                  <text>Museum: University of St Andrews</text>
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                  <text>4</text>
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              <text>A tradition and ritual is to not talk about fire or burning, to both be clear in communication that this is not about burning but charring, but different practitioners might also find that it's bad luck. It's also customary to give a name to the pile, which the volonteers choose the second day (when they have "gotten to know who the charcoal pile is"). Additionally, many outside of the practice associate the stories of charring coal with the poet Dan Andersson (from neighbouring region of Dalarna), which has written poems about the practice.</text>
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              <text>Kajsa Stinnerbom, Sara Olsson</text>
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              <text>Lack of conservation policy</text>
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              <text>Aged practitioners,Diminishing participation,Diminishing youth interest,Halted transmission between generations,Reduced practice</text>
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              <text>Loss of knowledge,Loss of cultural significance</text>
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              <text>Good Health and Wellbeing,Sustainable Cities and Communities</text>
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              <text>RV_CP_08</text>
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              <text>Our informant who’s been doing this the longest in the volunteer group (15 years) that are responsible for the charring tells that it's nearly impossible to learn by reading and must be learnt by doing. It's a tacit knowledge that's required and a very sensuous type of understanding They have made a standardizations e.g. with the measurements of the wood but each year they learn something new, as they are only building one each year. How to tend to the pile with the hit of a sledgehammer and skewers, as well as understanding the different type of smoke that rises are crucial.</text>
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              <text>A volunteer group of about twelve people are meeting each year to construct the pile and tend to it. They meet at weekends in late spring to construct it. The volunteers are all doing this out of their own interest and are mostly local inhabitants. Our informant who is in charge has learnt from the previous leader, and the pile has been made annually at "Gammelvala" for 60 years. Since the pile is made for the event, it's made doing summer, but traditionally they charred during the winter.</text>
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              <text>About twelve people meet each year, mostly local people. Out of the twelve practitioners, three are under 30 years, three between 30-40, and he rest are older. All of the volunteers are male, but they have had women included in the work as well. They are welcoming to women joining the group.</text>
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              <text>Up until the 1940's charcoal was still being produced this way in Värmland, also to support the fuel for wood gas fuelled cars during the war. Depending on what type of wood being charred, different coal is produced. Today the wood used is birch, which makes for great grill coal, and is being sold as exclusive local coal, which is a pride for the folk museum where "Gammelvala" is held. Each year, when the event "Gammelvala" starts, an inaugurator is chosen to light the pile as an honour, alternating each year between a man and a woman. A few years back it was the governor of Värmland, and this year it will be a popular comedian lightning the pile.&#13;
As very few charcoal piles are made in Värmland these days, this is an event which the organization Brunskogs hembygdsgård are proud of and many visitors come to witness it.</text>
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              <text>This type of coal productions have used throughout the ages and in various forms and sizes. The charcoal production of Western Värmland (this region) has also been studied by the local ethnologist Nils Keyland (1867-1924). From being a practice that was primarily done for the iron productions at a larger scale during the 18th century, for the wood coal to extract the iron from the ore, to being a way to produce fuel during the war, the charcoal is now not used in iron production or blacksmithing, but sold as a luxurious product as BBQ coal.</text>
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              <text>Brunskogs hembygdsgård, which can be translated into Brunskog's "heritage farm" or "old farmstead",  or collection of older buildings, run and managed by the local heritage association. Charcoal piles have been constructed at many local "heritage farms" throughout Sweden from the last part of 20th century.. There does not seem to exist a joint organisation in Sweden that safeguards or functions as a knowledge hub for this practice.</text>
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              <text>See organisations. It's also constructed at schools such as Sätergläntan, a school for crafts in neighbouring region Dalarna.</text>
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              <text>To make the process easier and more manageable they are using power tools to prepare the materials, such as cutting the wood. Otherwise the tools mainly used during the process are sledgehammer, iron bar and shovel. They also put on a chimney for the last part of the charring, which is also traditional but a later practice. During the event the volonteers are dressing in clothes that resemble that of a late 1800's and early 1900's cut, fabric and with the "slokhatt", a slouch hat which is a floppy felt hat usually worn by workers during that era in Sweden.</text>
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          <name>Technological Threats Description</name>
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              <text>Today it's only practicied for preserving.</text>
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              <text>There's a lack for these types of practices.</text>
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              <text>As there are only volunteer practitioners, gathering for making one pile a year, there's a reduced practice.</text>
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          <name>Loss Threats Description</name>
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              <text>As fewer are practicing, there's a lack of knowledge. Fewer have their own relation to the practice, as the war years are further away where this was still a stronger practice, which weakens the cultural significance.</text>
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          <name>State of the practice</name>
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              <text>endangered</text>
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          <name>Social sustainability</name>
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              <text>Yes, it's  social sustrainability in the practice for the participants and the community.</text>
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          <name>Environmental sustainability</name>
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              <text>It could be argued that it's actually, albeit small, a threat to the environment to practice this type of charring coal. Even though no LCA have been carried out, the more moderns ways of charring coal could be much more environmentally sustainable.</text>
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          <name>Economic sustainability</name>
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              <text>There's no economic sustainability, even though they sell the charred coal as a exclusive product.</text>
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          <name>Place</name>
          <description>The town or city</description>
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              <text>Brunskog, Värmland, Sweden</text>
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              <text>Brunskog, Arvika and the west parts of Värmland is a region where art and handicrafts have a long and strong tradition and that’s still largely present today. At the turn of the century 1900’s, many Swedish artists came to the area and an artists' colony, Rackstadkolonin, was established. The new ideas and expressions these artists brought with them along with the well-established and skilled craftsmanship that already existed here have contributed to the well-known arts and crafts area Arvika is today. The arts and crafts are greatly appreciated here by both practitioners, residents and visitors and are seen as a great asset and strong brand for the area. Arvika is a town of about 14.000, and the municipality has about 25.000 habitants. Brunskog's parish has about 2.000 inhabitants.</text>
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          <description>A link to a wiki entry about this item.</description>
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              <text>https://culturality.museum/wiki/index.php/Making_and_charring_a_charcoal_pile</text>
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                <text>Making and charring a charcoal pile</text>
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            <description>The nature or genre of the resource</description>
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                <text>Intangible</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>The charcoal clamp is a way of producing charcoal by arranging wood covered in spruce branches and "stöbbe" and is lit and chars in controlled circumstances. It's constructed by heating the wood with very little oxygen supply which makes the wood turn to charcoal instead of going up in flames and turning to ashes. The charcoal pile that is built annually at the event "Gammelvala", Brunskog, Värmland, takes about two days to build (with 12 people) and measures 4 1/2 m ∅. Depending on the wood used you can produce charcoal for grill, smithing and/or tar. The pile chars for approx. six days and up to 90% of the wood gets turned into charcoal. At least two people guard it during, at all times.</text>
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            <description>A language of the resource</description>
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                <text>Swedish</text>
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            <description>The size or duration of the resource.</description>
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            <description>An entity responsible for making contributions to the resource</description>
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                <text>iain</text>
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            <description>An unambiguous reference to the resource within a given context</description>
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                <text>592</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>varmlandmap</text>
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            <description>A related resource that is referenced, cited, or otherwise pointed to by the described resource.</description>
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                <text>https://pub.epsilon.slu.se/4379/1/Fjellstrom_J_2001.pdf&#13;
https://www.platabergensgeopark.se/portfolio/kolarna-i-erdalen/&#13;
https://www.platabergensgeopark.se/wp-content/uploads/2021/10/Kolmilans-konstruktion10.png</text>
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            <description>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).</description>
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                <text>02/09/2025</text>
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            <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
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                <text>Kolmilning</text>
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            <description>Spatial characteristics of the resource.</description>
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                <text>current,59.6564613,12.8910436;</text>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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            <description>The Europeana material type of the resource.</description>
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                <text>TEXT</text>
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          <name>Dublin Core</name>
          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
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                  <text>Museum: University of St Andrews</text>
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              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
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              <text>Two fundamental cultural practices are associated with the production of Afuega’l Pitu cheese. First, the preservation of traditional cattle farming in the areas covered by the protected designation of origin (PDO). Regulations require producers to use milk from Friesian cows or "Asturiana de los Valles" cows. Additionally, the animals must graze freely in pastures close to the facilities and be gathered for milking at sunset. Despite the challenges faced by small dairy farms today, the PDO encourages the use of milk from family-run farms.&#13;
&#13;
Secondly, the direct sale of the product to consumers at local markets helps preserve these weekly markets. In Asturias, since the Middle Ages, each municipality has held a weekly market where, until recently, surplus local agricultural produce was sold. However, the rural crisis and the emergence of large retail chains have threatened the survival of these traditional markets. The direct sale of cheese at these markets not only helps preserve this cultural tradition but also strengthens their significant social and economic roles at the local level.</text>
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              <text>Santiago Rodríguez Pérez</text>
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          <name>Climate Threats</name>
          <description/>
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              <text>Loss of biodiversity,Deterioration of space</text>
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          <name>Economic Threats</name>
          <description/>
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              <text>Rapid economic transformation</text>
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          <name>Demographic Threats</name>
          <description/>
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              <text>Rural-urban migration,Degraded habitat</text>
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          <name>Decontextualization</name>
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          <name>Globalisation</name>
          <description/>
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              <text>Rapid sociocultural change</text>
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          <name>Weakened Practice</name>
          <description/>
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              <text>Aged practitioners,Reduced practice</text>
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          <name>Loss Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17334">
              <text>Loss of ancestral language,Loss of cultural spaces,Loss of knowledge,Loss of cultural significance</text>
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        <element elementId="200">
          <name>Climate Actions</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17335">
              <text>Community Engagement,Educational programs,Governance management and green policies</text>
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          <name>SDG</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17336">
              <text>No Poverty,Zero Hunger,Good Health and Wellbeing,Gender Equality,Decent Work and Economic Growth,Reduced Inequalities,Sustainable Cities and Communities,Responsible Consumption and Production,Climate Action,Life On Land</text>
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          <name>External ID</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17337">
              <text>UNIOVI_CP_02</text>
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          <name>Knowledge</name>
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              <text>Cheese making is a relatively simple process, but it requires certain skills. First, it is essential to have a thorough knowledge of the raw material—local milk—since its quality is crucial to the final product. In addition, manual dexterity and strict adherence to the established times and temperatures for coagulation, ladling into molds, and curing are necessary. However, for the craftswomen who produce it, the most important aspect is to demonstrate a special sensitivity and a deep respect for the cultural tradition that this cheese represents, which entails making it correctly and following traditional methods. Although some innovations have been introduced, only those necessary to improve working conditions have been implemented, without altering the properties and characteristics of the final product.</text>
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              <text>Artisanal tradition has been passed down from generation to generation through the women of rural families, as they are predominantly the ones who have preserved this knowledge by historically being responsible for producing cheese and butter. Today, this knowledge is still transmitted within the family since there is no formal training or official course for those who wish to learn or set up a small factory, although some school workshops are offered for educational and outreach purposes. Moreover, there is literature available on the subject, and the regulations of the Protected Designation of Origin establish how the product’s manufacturing process should be carried out. Additionally, some accredited courses in food handling, among others, are offered, but most of the craftswomen learned the trade at home from their elders.</text>
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          <name>Practitioners</name>
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              <text>In the past, on family farms (caserías), cheese was produced both for domestic consumption and, primarily, for sale at the weekly markets held in the municipal capitals. The sale of cheese and homemade butter generated significant economic benefits that were reinvested in acquiring goods that the farms could not produce themselves, such as tools, services, or consumer products (coffee, sugar, rice, oil, etc.). The know-how for cheese making was widely disseminated among peasants, and it was generally a task carried out by women, who were responsible for both production on the farm and its transportation and sale at the markets. Since it was a family-made product, the transmission of this knowledge was passed down from mothers to daughters, and even today we can observe this tradition in numerous family-run cheesemakers, originally founded by mothers and currently maintained by daughters.&#13;
&#13;
Nowadays, though to a lesser extent and in an almost symbolic manner, some people still produce this cheese at home for their own consumption, much like it was traditionally made. Currently, almost all of the production is carried out by the seven cheeseries covered by the Protected Designation of Origin, most of which are family-run enterprises where women play a predominant role.</text>
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          <name>Function</name>
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          <elementTextContainer>
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              <text>Afuega’l Pitu cheese represents a tradition deeply connected to the region, local consumers, and the families who produce it, while also being a highly sought-after product. This artisanal cheese, whose consumption is firmly rooted in Asturias, is an essential part of the Asturian gastronomic identity.</text>
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          <name>Origins and change</name>
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          <elementTextContainer>
            <elementText elementTextId="17342">
              <text>Afuega’l Pitu is likely one of the oldest Asturian cheeses. Some of its varieties are made through the natural acidic coagulation of milk, combined with heat treatments, without the need for rennet. Although no earlier records exist, this cheese has been documented since at least the 18th century, when it was even used as currency to pay taxes. By the late 19th century, various writers had referenced it. Félix Aramburu y Zuloaga described it as the "primitive queso de puñu or afuega’l pitu, common in almost all the municipalities of Asturias." Around the same time (1900), the book Asturias by Octavio Bellmunt and Fermín Canella also mentioned it, highlighting its widespread presence throughout the region and referring to it as "the ones commonly found everywhere, called afuega’l pitu or by other names." These were the cheeses typically made on farms, distinct from those available in markets, which came from elsewhere.&#13;
&#13;
Traditionally, it was made using raw milk. By the 1960s, farms had specialized in dairy production, but with the rise of mass-produced packaged milk from large dairy industries and the low prices paid to producers, some farmers began using their raw material to create a processed product—cheese.&#13;
&#13;
Before 1980, farms were free to sell their products in local markets. However, from that year onward, public authorities began requiring sanitary registration for both facilities and production due to health concerns in Asturian livestock farms. This measure led to conflicts with the Administration, which even went so far as to ban cheese commercialization until certain hygiene standards were met, including the mandatory pasteurization of milk.&#13;
&#13;
Cheese production then became professionalized, marking the start of mandatory compliance with sanitary regulations. This resulted in a decline in the number of producers, who transitioned into small family-run businesses. At the same time, facilities were modernized with the introduction of pasteurization machines, r</text>
            </elementText>
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          <name>Organisations</name>
          <description/>
          <elementTextContainer>
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              <text>Afuega’l Pitu cheese holds the Protected Designation of Origin (PDO). In 2003, the Asturian government promoted and managed this designation to ensure the product’s survival, since—even though it was historically produced across a vast region of Asturias—its production had been in decline. Moreover, this measure was part of a strategy to revitalize the rural areas where the cheese was produced. To that end, the Regulatory Council for the Protected Designation of Origin “Afuega’l Pitu” was established, an organization in which all registered producers participate and which ensures compliance with the PDO regulations.&#13;
&#13;
The Asturian government demonstrates a strong commitment to local products by actively incorporating them into its tourism and gastronomic campaigns. Culinary competitions and events related to this cheese are frequently organized. Additionally, many of its producers are members of the Association of Artisan Cheesemakers of Asturias.&#13;
&#13;
Although there is no museum in Asturias dedicated exclusively to this product, the Museu Etnográficu de la Llechería in Morcín, which focuses on dairy production, stands out as an important center for its dissemination.</text>
            </elementText>
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        </element>
        <element elementId="280">
          <name>Places</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17344">
              <text>In the production of Afuega’l Pitu cheese, we find three important elements to understand its historical and social context.&#13;
&#13;
A.Traditional agrarian landscapes. The milk comes from open-pasture livestock farming. Although nowadays most cattle are intended for meat production, the Asturian landscape is dominated by meadows where cows graze for both meat and milk production. The local, high-quality grass influences the organoleptic characteristics of this cheese. Its production also contributes to the preservation of these landscapes.&#13;
&#13;
B.Elevated granaries. One of the elements of traditional Asturian architecture, the elevated wooden granaries, known as 'hórreos' and 'paneras,' are connected to the production of this cheese. Traditionally, before professionalization and the advent of maturation chambers, the cheeses were aged inside these elevated granaries. In fact, one of their interior pieces, the 'cheese beam,' owes its name to its use for storing cheeses there. The cheese factory Ca Sanchu in Grau produces a long-aged variety of Afuega’l Pitu inside a 'hórreo.'&#13;
&#13;
C.Traditional outdoor local markets. Since the Middle Ages, outdoor markets have been held in all the municipal capitals of Asturias, where local farm products were sold. They are an intangible cultural heritage, a meeting point for the local population, and essential for proximity commerce. Today, they still exist but are somewhat in decline due to the rise of large commercial supermarkets.</text>
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          <name>Artefacts</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17345">
              <text>In the production of Afuega’l Pitu cheese, there are two fundamental elements which, although they retain their traditional use, are now made with modern materials.&#13;
&#13;
The first is the conical mold used to drain the cheese, traditionally called "barreña" in Asturias. It consists of a conical-shaped container perforated across its entire surface, acting as a strainer to separate the whey from the curd. Originally made of ceramic, nowadays they are manufactured using food-grade plastic. In domestic dairies, there used to be one or two of these molds, as milk production was smaller and intended for household consumption, but nowadays a dairy requires hundreds of barreñas to produce cheese.&#13;
&#13;
The second is the "garciella," the ladle used to take the curd from the tank and layer it into the molds (barreñas). This method of layering the curd in the mold is essential to give the cheese its distinctive texture.</text>
            </elementText>
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        <element elementId="298">
          <name>State of the practice</name>
          <description/>
          <elementTextContainer>
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              <text>thriving</text>
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        <element elementId="293">
          <name>Social sustainability</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17347">
              <text>The practice enhances social sustainability and contributes positively to various areas.&#13;
&#13;
Gender equality. Most of the companies dedicated to producing Afuega’l Pitu cheese are managed by women and provide employment opportunities to other women (La Borbolla, Temia, Ca Sanchu, La Arquera, among others). These companies not only offer jobs but also play an essential role in empowering women in rural areas, strengthening their presence and fostering their development in these regions.&#13;
&#13;
Another key aspect is the retention of population and resources in rural areas. By being economically viable, these companies establish themselves as an essential resource for the local economy. Their work ensures the permanence of resources and population in rural areas, promoting a sustainable balance for the environment and communities. These activities not only support community development but also encourage the preservation of cultural and economic traditions unique to the region.</text>
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        <element elementId="294">
          <name>Environmental sustainability</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17348">
              <text>It contributes decisively in several aspects:&#13;
&#13;
Use of local raw materials. Locally sourced milk is utilized, supporting the regional economy and ensuring a fresh and high-quality product.&#13;
&#13;
Renewable energy. Although renewable energy sources are not currently used, there is a willingness to adopt them in the near future. Some dairies have already taken steps by installing solar panels, demonstrating a commitment to sustainability.&#13;
&#13;
Waste management. The practice generates very little waste, mainly limited to whey, which is a biodegradable material.&#13;
&#13;
Efforts are underway to explore ways to use this by-product in both animal and human nutrition. Furthermore, whey is utilized as a natural fertilizer, promoting a circular economy.&#13;
&#13;
Proximity markets. The product is primarily marketed locally, minimizing the carbon footprint by reducing the need for long-distance transportation.&#13;
&#13;
Quality and sustainability assurance. It holds designation of origin seals and undergoes strict controls, ensuring both the quality of the product and its contribution to sustainability.</text>
            </elementText>
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        </element>
        <element elementId="295">
          <name>Economic sustainability</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17349">
              <text>The practice contributes significantly to economic sustainability in several aspects:  &#13;
&#13;
Job creation in isolated rural areas. The production of a high-quality food product generates job opportunities in rural communities, strengthening the local economy and stabilizing population in these regions.  &#13;
&#13;
Redistribution of benefits in rural areas. The income generated is distributed among local traders and providers of goods and services, also benefiting farmers in the region. This promotes a more equitable and robust economy within the rural environment.  &#13;
&#13;
Accessibility and local markets. A large portion of the product from some dairies is sold directly to the public at outdoor markets. With reduced prices, the product is made accessible to everyone. Additionally, the philosophy of these dairies focuses on offering an affordable artisanal product, fostering proximity trade and strengthening local economies.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="155">
          <name>Place</name>
          <description>The town or city</description>
          <elementTextContainer>
            <elementText elementTextId="17350">
              <text>Municipalities of Morcín, Riosa, Santo Adriano, Grau/Grado, Salas, Pravia, Tinéu, Belmonte de Miranda, Cudillero, Candamo, Las Regueras, Muros de Nalón, and Sotu'l Barcu. Asturias, Spain.</text>
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          <name>Place Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17351">
              <text>Asturias is a region located in the north of the Iberian Peninsula, on the Atlantic coast. It consists of an area of 10,556 km² and forms an autonomous community within the Spanish state. Geographically, it is situated at the western end of the Atlantic Biogeographic Region, with an oceanic and temperate climate characterized by mild temperatures, abundant rainfall, and high cloud cover. Its terrain is predominantly mountainous, with average slopes of 33%, featuring three distinct landscapes: the coastal plain, the interior valleys, and the high mountains. Asturian flora falls within the European Atlantic flora, with deciduous broadleaf forests being particularly notable. The capital of the region is Oviedo/Uviéu, and the population currently stands at 1,009,599, with 80% concentrated in the central metropolitan area.&#13;
&#13;
Historically, agriculture, livestock, and fishing have been the fundamental livelihoods of its inhabitants. In the late 19th century, industrialization developed in the central part of the province, with coal mining in the central basins and the rise of the iron and steel industry. In the rest of the community, traditional peasant agriculture persisted until the 1960s. Family farms (“caserías”) were the basis of rural settlement and agricultural production, grouping together into villages. The "casería" was the home of peasant families and included the dwelling and the buildings intended for production, as well as the cultivated lands, livestock, and rights over communal property. Traditional agriculture was geared towards the self-sufficiency of peasant families and was based on cereal production, which constituted the main sustenance, with part of the surplus being sold in local markets. In the early 20th century, with the arrival of industrialization to rural areas, cattle farming for milk and meat production was boosted, which drove the development of an important dairy industry in the region, spurred both by agricultural policies and by the regio</text>
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              <text>1266</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Afuega'l pitu cheesemaking</text>
              </elementText>
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            <description>The nature or genre of the resource</description>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Afuega’l Pitu cheese is an artisanal product crafted with traditional methods in several regions of Asturias. It is made exclusively from cow’s milk—sourced from local farms and derived from either Frisona or Asturian valley breeds. This rich, fatty cheese is produced primarily through acid coagulation and can be enjoyed either fresh or aged. The name Afuega’l Pitu (which translates to “choke the throat” in the Asturian dialect) has an uncertain origin, and several interpretations have been proposed for this unusual name. One theory suggests that it may refer to the occasional difficulty in swallowing the cheese due to its uniquely compact and firm texture. Afuega’l Pitu is produced on a small scale and crafted artisanally under the Protected Designation of Origin (PDO). Currently, its annual production is approximately 125,000 kg.&#13;
&#13;
Afuega’l Pitu cheese with PDO is produced in four traditional varieties, which are differentiated by the type of mould used—either a truncated cone-shaped mould ("atroncau") or a gauze tied at its ends, giving it a courgette-like shape ("trapu")—as well as by the absence ("blancu") or presence ("roxu") of paprika. This results in the following varieties: atroncau blancu, atroncau roxu, trapu blancu, and trapu roxu. Additionally, there are technological differences, such as the kneading of the curd—a process typical of the trapu variety and of cheeses containing paprika (i.e., trapu blancu, trapu roxu, and atroncau roxu). The cheeses typically weigh between 200 and 600 grams and are enjoyed both fresh and ripened. Afuega’l Pitu cheese is highly esteemed for its sensory attributes. According to product specifications, it has a slightly sour taste, minimal saltiness, and a creamy yet relatively dry texture; the addition of paprika gives it a stronger, spicier flavour. Its aroma is mild, becoming more pronounced as it ripens (Piñeiro Lago, 2021, p. XI).</text>
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            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="17317">
                <text>Asturian,Spanish</text>
              </elementText>
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            <description>The size or duration of the resource.</description>
            <elementTextContainer>
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                <text> x  x </text>
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            <description>An entity responsible for making contributions to the resource</description>
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                <text>iain</text>
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            <description>An unambiguous reference to the resource within a given context</description>
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                <text>593</text>
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            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
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                <text>asturiasmap</text>
              </elementText>
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            <name>References</name>
            <description>A related resource that is referenced, cited, or otherwise pointed to by the described resource.</description>
            <elementTextContainer>
              <elementText elementTextId="17322">
                <text>Cuesta, P., Fernández-García, E., González De Llano, D., Montilla, A., &amp; Rodríguez, A. (1996). Evolution of the Microbiological and Biochemical Characteristics of Afuega’l Pitu Cheese During Ripening. Journal of Dairy Science, 79(10), 1693–1698. https://doi.org/10.3168/jds.S0022-0302(96)76534-7&#13;
Fernández Ramírez, I., &amp; González de la Plata, I. (2006). El queso Afuega’l Pitu. Fenicia / Gráficas Muñiz.&#13;
González Álvarez, M. G., Díaz-Méndez, C., &amp; Novo Vázquez, A. (2019). De la agricultura familiar a las denominaciones de origen protegida (DOP): Transformación del sector del queso en asturias. In Agricultura familiar y derecho a la alimentación: Reflexiones desde España, América Latina y el Caribe (pp. 131–142). Ediciones de la Universidad de Oviedo. https://investigacion.usc.es/documentos/600b7d595ef744589ee4ccfd?lang=es&#13;
López Murias, Raquel. «Las cinco muyeres de Grau que salvaron al “queisu” que llegó a prohibirse en Asturias: el Afuega’l Pitu». ElDiario.es, 15 de febrero de 2025. https://www.eldiario.es/asturias/cinco-muyeres-grau-salvaron-queisu-llego-prohibirse-asturias-afuega-l-pitu_1_12053455.html&#13;
MAPAMA. (2016). Pliego de condiciones de la denominación de origen protegida (D.O.P.) ”Afuega’l Pitu”. Ministerio de Agricultura y Pesca, Alimentación y Medioambiente (MAPAMA). [Specification of Afuega’l Pitu P.D.O. Ministry of Agriculture and Fisheries, Food and Environment (MAPAMA)].&#13;
Official website of the Protected Designation of Origin "Afuega'l Pitu": https://doafuegalpitu.es/&#13;
Piñeiro Lago, L. (2021). Study of the thermo-rheological and biochemical parameters of Afuega’l Pitu PDO cheese [Doctoral dissertation, Universidade de Vigo]. http://hdl.handle.net/11093/2269&#13;
Turismo Asturias. (2020, January 13). DOP Queso Afuega’l Pitu [Video recording]. https://www.youtube.com/watch?v=VhtNe344HzM</text>
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                <text>Olaya Alonso López</text>
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                <text>Alzacuadros y espátula</text>
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                <text>Ellen Berit Dalbekk</text>
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            <description>Spatial characteristics of the resource.</description>
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            <description>The Europeana material type of the resource.</description>
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                <text>Olaya Alonso López</text>
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            <description>The name of the country of the data provider or “Europe” in the case of Europe-wide projects.</description>
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                <text>The most famous Scottish glen is also one of its most dramatic, with forbidding mountains, thundering waterfalls and sparkling lochs. Internationally famous for its amazing landscape, its natural and cultural heritage; the scenery of Glencoe has been fashioned by millions of years of geological and geomorphologic processes is now regarded as some of the finest wild landscape in Scotland. The drama is also reflected in Glencoe's history, both real and imagined “ myths, massacre and movies are all now part of the fabric of this magical, mysterious place. Walkers and climbers are drawn from all over the world to tackle its many mountaineering routes, including eight Munros, while animal-lovers come to catch a glimpse of Scottish wildlife including red deer, golden eagles and pine martens.</text>
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                <text>highlandandislands</text>
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                <text>09/20/2025 02:53:06 pm</text>
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                <text>current,56.666626,-5.034336;</text>
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                <text>https://openvirtualworlds.viewin360.co/share/collection/71tfN?logo=1&amp;amp;info=0&amp;amp;fs=1&amp;amp;vr=1&amp;amp;sd=1&amp;amp;initload=0&amp;amp;thumbs=1</text>
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