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            <description>An account of the resource</description>
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                <text>The University of St Andrews is a world class center for excellence in teaching and research. Open Virtual Worlds is an interdisciplinary group of researchers bringing together expertise in computing, digital design, history and museology. The research group works closely with experts and communities in the creation and deployment of cultural heritage content. With 10 years experience in 3D and immersive technologies, focusing on system engineering and the relationship between quality of service and experience this partner will contribute data management systems and content production to the project.</text>
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            <description>A name given to the resource</description>
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            <description>An account of the resource</description>
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              <text>The clay is kneaded and centered and trown on a electrical potter's wheel. The vase is lifted from the wheel and left to dry until leather hard before it's engobed. When that's dried, the pattern is scraped and then it is bisque fired up to 950 degrees, glazed, dried under the feet and then fired to about 1100 degrees.. När engoven torkat till litegrann skrapas mönstret fram- The vase is not glazed at the edge and is burnt upside down to get an enclosed, fully glazed foundation.</text>
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                <text>An eathernware vase for a smaller bouquet of flowers in a twisted pattern of black and brown.</text>
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            <name>Date</name>
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            <name>Extent</name>
            <description>The size or duration of the resource.</description>
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              <elementText elementTextId="9869">
                <text>10cm x 17.5cm x 23cm</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="9870">
                <text>iain</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="9871">
                <text>419</text>
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            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="9872">
                <text>craftedobjects</text>
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            </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="9873">
                <text>https://woodic.es/edra-collection/ https://nexodos.art/natalia-suarez-en-re_hacer/</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>
            <elementTextContainer>
              <elementText elementTextId="9875">
                <text>02/07/2025</text>
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            </elementTextContainer>
          </element>
          <element elementId="81">
            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
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              <elementText elementTextId="9888">
                <text>current,43.461389,-6.039444;</text>
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        </elementContainer>
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      <elementSet elementSetId="4">
        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
        <elementContainer>
          <element elementId="100">
            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="9867">
                <text>TEXT</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="744" public="1" featured="1">
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      <name>Physical Object</name>
      <description>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.</description>
      <elementContainer>
        <element elementId="132">
          <name>Material</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9904">
              <text>earthenware</text>
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          </elementTextContainer>
        </element>
        <element elementId="189">
          <name>Natural Cultural</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9906">
              <text>Cultural</text>
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          </elementTextContainer>
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        <element elementId="223">
          <name>Function</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9907">
              <text>Decorative, flower vase</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="224">
          <name>Creation Purpose</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9908">
              <text>As an art piece for exhibiting and for sale.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="225">
          <name>Technique</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9909">
              <text>Digital creation of prototype with Rhino software, 3D printing of prototype in plastic, manufacture of plaster mould, casting of white clay to make the object. Then it is baked in an oven</text>
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          </elementTextContainer>
        </element>
        <element elementId="226">
          <name>Material Source</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9910">
              <text>unknown origin.</text>
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          </elementTextContainer>
        </element>
        <element elementId="227">
          <name>Conecept</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9911">
              <text>It is a piece designed looking for new geometric silhouettes, which are impossible or very difficult to achieve manually, which also wants to show the trace of the machine as a visible texture on the skin of the ceramic that is combined with traditional aesthetics.</text>
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          </elementTextContainer>
        </element>
        <element elementId="228">
          <name>Production Quality</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9912">
              <text>The craftswoman has made a small serial production.</text>
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          </elementTextContainer>
        </element>
        <element elementId="187">
          <name>External ID</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9913">
              <text>LAPONTE_AR_02</text>
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        </element>
        <element elementId="236">
          <name>Field Worker</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9914">
              <text>Carmen Pérez Maestro</text>
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          </elementTextContainer>
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        <element elementId="274">
          <name>Craft</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9915">
              <text>ceramics</text>
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        <element elementId="275">
          <name>Tool</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9916">
              <text>Computer, 3D printer, plaster moud and a potter's kiln</text>
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          </elementTextContainer>
        </element>
        <element elementId="155">
          <name>Place</name>
          <description>The town or city</description>
          <elementTextContainer>
            <elementText elementTextId="9917">
              <text>El Valle, Candamo, Asturias, Spain</text>
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          </elementTextContainer>
        </element>
        <element elementId="108">
          <name>Wiki</name>
          <description>A link to a wiki entry about this item.</description>
          <elementTextContainer>
            <elementText elementTextId="9919">
              <text>https://culturality.museum/wiki/index.php/Vase_from_the_EDRA_collection</text>
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      </elementContainer>
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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>
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              <elementText elementTextId="9892">
                <text>Vase from the EDRA collection</text>
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          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="9893">
                <text>Physical Object</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="9894">
                <text>It is an open and geometrically shaped vessel. It has faceted walls and a pink engobe on the outside with scattered coloured spots.</text>
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          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="9895">
                <text>2020s</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="9896">
                <text>677</text>
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            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="9898">
                <text>Spanish</text>
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            </elementTextContainer>
          </element>
          <element elementId="78">
            <name>Extent</name>
            <description>The size or duration of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="9899">
                <text>9cm x 6.5cm x 13.5cm</text>
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            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="9900">
                <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="9901">
                <text>420</text>
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            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="9902">
                <text>craftedobjects</text>
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            </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="9903">
                <text>https://woodic.es/edra-collection/ https://nexodos.art/natalia-suarez-en-re_hacer/</text>
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            </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>
            <elementTextContainer>
              <elementText elementTextId="9905">
                <text>02/07/2025</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="81">
            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="9918">
                <text>current,43.461389,-6.039444;</text>
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      <elementSet elementSetId="4">
        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
        <elementContainer>
          <element elementId="100">
            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="9897">
                <text>TEXT</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="746" public="1" featured="0">
    <itemType itemTypeId="15">
      <name>Physical Object</name>
      <description>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.</description>
      <elementContainer>
        <element elementId="132">
          <name>Material</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9963">
              <text>Clay and water</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="189">
          <name>Natural Cultural</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9965">
              <text>Cultural</text>
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          </elementTextContainer>
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        <element elementId="223">
          <name>Function</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9966">
              <text>To drain the whey from the cheese</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="224">
          <name>Creation Purpose</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9967">
              <text>Domestic, cheese production for sale.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="225">
          <name>Technique</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9968">
              <text>Made with black clay, shaped on a pedal-powered wheel, and its surface smoothed with a leather cloth. The walls are pierced with a punch. The kiln used is the "open kiln." It consists of two parts: the firing chamber, where the pieces are stacked, and a boiler in which the fuel is introduced. A characteristic of Faro kilns is that they are always oxidizing and reach temperatures of 1,100º, as is the case with this black ceramic to drain the whey from the cheese.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="226">
          <name>Material Source</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9969">
              <text>Faro, Asturias</text>
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          </elementTextContainer>
        </element>
        <element elementId="227">
          <name>Conecept</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9970">
              <text>Livestock farming and cheese production</text>
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          </elementTextContainer>
        </element>
        <element elementId="228">
          <name>Production Quality</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9971">
              <text>The number of objects produced in the same batch as the one presented is unknown, but they were made in series, meaning many identical ones were created.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="187">
          <name>External ID</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9972">
              <text>LAPONTE_AR_04</text>
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          </elementTextContainer>
        </element>
        <element elementId="236">
          <name>Field Worker</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9973">
              <text>Carmen Pérez Maestro</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="275">
          <name>Tool</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9976">
              <text>Foot-powered potter's wheel, cutting thread, specific tools for pottery (small wooden tools, knife, and punch), "trapadoiro" (leather cloth used to shape the rim of the vessel), and kiln.</text>
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          </elementTextContainer>
        </element>
        <element elementId="155">
          <name>Place</name>
          <description>The town or city</description>
          <elementTextContainer>
            <elementText elementTextId="9977">
              <text>Faro, Asturias, Spain</text>
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          </elementTextContainer>
        </element>
        <element elementId="130">
          <name>Prim Media</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="11719">
              <text>803</text>
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          </elementTextContainer>
        </element>
        <element elementId="274">
          <name>Craft</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="11721">
              <text>ceramics</text>
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      </elementContainer>
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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>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="9952">
                <text>Vessel to drain the whey from the cheese</text>
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          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="9953">
                <text>Physical Object</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="9954">
                <text>Black ceramic vessel, made on a foot-powered wheel, with a smooth and blackened surface. It has a truncated-conical shape, with the base diameter smaller than the mouth, which is completely open. The walls and base feature circular perforations.</text>
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            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="9955">
                <text>Unknown</text>
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            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="9956">
                <text>681</text>
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          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="9958">
                <text>Spanish</text>
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            </elementTextContainer>
          </element>
          <element elementId="78">
            <name>Extent</name>
            <description>The size or duration of the resource.</description>
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                <text>14.5cm x 8.5cm x 11.5cm</text>
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            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="9960">
                <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="9961">
                <text>422</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="9962">
                <text>craftedobjects</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>
            <elementTextContainer>
              <elementText elementTextId="9964">
                <text>02/07/2025</text>
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            </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="9974">
                <text>Quesera</text>
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            </elementTextContainer>
          </element>
          <element elementId="81">
            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="9978">
                <text>current,43.3559346837855,-5.79416670380603;</text>
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          <element elementId="61">
            <name>Date Modified</name>
            <description>Date on which the resource was changed.</description>
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              <elementText elementTextId="11720">
                <text>04/07/2025</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
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      <elementSet elementSetId="4">
        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
        <elementContainer>
          <element elementId="100">
            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="9957">
                <text>TEXT</text>
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            </elementTextContainer>
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    </elementSetContainer>
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  <item itemId="1195" public="1" featured="1">
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      <name>Artisan</name>
      <description>An artisan</description>
      <elementContainer>
        <element elementId="178">
          <name>Contact</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16065">
              <text>laguaridadelcunqueiru@gmail.com</text>
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          </elementTextContainer>
        </element>
        <element elementId="175">
          <name>Author</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16067">
              <text>iain</text>
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          </elementTextContainer>
        </element>
        <element elementId="152">
          <name>Email</name>
          <description>The email address of the museum.</description>
          <elementTextContainer>
            <elementText elementTextId="16070">
              <text>laguaridadelcunqueiru@gmail.com</text>
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          </elementTextContainer>
        </element>
        <element elementId="153">
          <name>Phone</name>
          <description>The phone number</description>
          <elementTextContainer>
            <elementText elementTextId="16071">
              <text>34 660 69 00 00</text>
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          </elementTextContainer>
        </element>
        <element elementId="130">
          <name>Prim Media</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16075">
              <text>1193</text>
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        </element>
        <element elementId="35">
          <name>Biographical Text</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16076">
              <text>Since the age of 18, he has pursued a career as an entrepreneur in the field of traditional crafts. He learned the trade of cunqueiro at 12-13 years old, a profession that had disappeared since the 1970s-80s, which he inherited from his uncle Victorino. Initially, it started as a hobby, but at 18, he decided to professionalize his craft, combining it with tourism. He chose to stay in his homeland, contributing to the preservation and promotion of this traditional trade.</text>
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          </elementTextContainer>
        </element>
        <element elementId="187">
          <name>External ID</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16077">
              <text>ESPTOR_PR_01</text>
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          </elementTextContainer>
        </element>
        <element elementId="229">
          <name>Knowledge Acquisition</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16078">
              <text>The practitioner acquired their knowledge and skills through a combination of family heritage, hands-on experience, and cultural immersion. They began learning the craft at 12 or 13 years old from their uncle Victorino, who had revived the trade after it had nearly disappeared. This craft was once the economic backbone of entire families in the valley, where nearly 400 people lived, but over time, due to industrialization, emigration, and changes in market demand, it faded. Traditionally, adult men would leave in organized groups each winter, traveling across Spain selling wooden bowls and utensils, while women, children, and the elderly maintained the household and livestock. These transhumant craftsmen followed established routes, reaching places like Madrid, Galicia, Catalonia, and Andalusia, producing and selling their goods until early spring. This way of life lasted until the 1950s, when mining jobs and the rise of porcelain and ceramics made wooden bowls less necessary. By the 1980s, the last traditional cunqueiros had disappeared, with only a few artisans continuing the trade at home. Victorino, a former miner, relearned the craft entirely on his own, setting up a lathe and making wooden bowls as a hobby before realizing that tourism could offer a way to sustain the profession. He established a craft workshop and began offering guided visits. This is where the practitioner became immersed in the trade, first as a child drawn to the craft, then as a hobbyist, and eventually as a professional, producing pieces for sale before becoming self-employed. In the early 2000s, Victorino founded El Rincón del Cunqueiro, with the practitioner’s mother, Rosa, also getting involved. She worked as a nature guide in the Muniellos Natural Reserve but soon began leading visits to the workshop and crafting percussion instruments like tambourines and castanets. In 2020, after Victorino’s passing, the workshop relocated due to inheritance disputes, leading to the creation of La Guarida del Cunqueiro, a new space for continuing the craft. However, after Rosa’s passing in 2024, operations slowed down, though the intention remains to continue the work. Beyond making bowls, the practitioner also creates tambourines, castanets, small vessels, and occasionally furniture, keeping their skills constantly active through commissions or personal satisfaction. They value variety, seeing repetition as tedious, and strive to maintain an active and evolving practice. Additionally, they have an interest in blacksmithing, recognizing it as a central trade that supports many others. Without a blacksmith, many traditional woodworking tools cannot be made or maintained, making this skill essential. While they have learned some metalworking, they hope to develop this ability further. However, finding active blacksmiths is becoming increasingly difficult, with only a few remaining in the region, mainly those specializing in knife-making in Taramundi.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="230">
          <name>Knowledge Transfer</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16079">
              <text>The practitioner used to offer experiential workshops where participants could try their hand at the craft and learn about the trade. These activities provided an opportunity for people to engage with traditional woodworking techniques, but most participants approached it as a hobby rather than a profession. However, due to personal reasons, they ceased these activities a year ago, though they now plan to gradually restart them.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="236">
          <name>Field Worker</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16080">
              <text>Olaya Alonso López</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="245">
          <name>AI Tools</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16081">
              <text>Yes</text>
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        </element>
        <element elementId="246">
          <name>AI Content</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16082">
              <text>ChatGPT. The interview was manually structured and transcribed into text in Spanish (informal language). Due to the immense amount of time required to process all the materials and to alleviate the workload, the AI was asked to take this information (one question at a time) and adapt the answers into more academic language in English. All answers have been checked to ensure they convey the intended information. The original transcription draft in Spanish is also attached for reference.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="247">
          <name>Gender</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16083">
              <text>male</text>
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        <element elementId="248">
          <name>Area Relation</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16084">
              <text>native</text>
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          <name>Occupation</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16085">
              <text>woodwork</text>
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          </elementTextContainer>
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        <element elementId="251">
          <name>knowledge1</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16086">
              <text>The practitioner must have a deep understanding of both natural cycles and traditional woodworking techniques. The process begins with observing the moon phase, as wood is always cut during the waning quarter. This practice, rooted in both tradition and science, ensures that sap levels are lower, making the wood denser, more resistant to pests, and more durable over time. Deciduous trees are primarily used, and they are cut in winter when they enter their vegetative dormancy. Once felled, the trees are left in the forest for two to three months to "bleed out" the sap before being trimmed and processed. Thick branches are either used for firewood or woven into structures for land restoration. When preparing the wood for turning, the tree is cut into sections, but never into horizontal slices, as the vertical fibers of the wood would cause it to crack outward from the center. Instead, the practitioner cuts the log into two semi-circular halves, flattens one side with an axe, and marks the maximum diameter of the intended piece. The next step is “escornar”, where the rough outer layers are removed to create a more defined shape before securing the piece to the lathe. The shaping process is then refined using gouges, and the interior is hollowed out before sanding. The wood must then dry for two to three months in sawdust or in a controlled environment where it is shielded from direct air and sunlight to prevent cracking. The basic turning and shaping process may take between 30 minutes to an hour, but the drying and final refinement extend the timeline significantly. The time required for each piece varies greatly. A standard 15 cm bowl may take around 45 minutes to an hour, while more complex pieces such as tachadeiras (chopping boards) require two to three hours, and cimbreiras (lidded containers) can take anywhere from eight to fifteen hours, as their lids must fit with airtight precision. However, beyond the manual crafting time, the entire process includes tree selection, felling, drying, and finishing, making the actual production timeline much longer. For example, making a tambourine (pandereta) requires extensive preparation. Shaping the wooden rim might take an hour, but the raw wooden strip must first be cut in five minutes, then soaked in water for a week to regain flexibility. Bending it into shape takes another 30 minutes, after which it must dry for four days before being glued and left to set for another two to three weeks. After that, the frame is drilled, fitted with metal jingles, and finalized—totaling around 3 or 4 hours of labor over a 15-day period. By comparison, wooden bowls are much faster to produce, though they still require careful drying and finishing.</text>
            </elementText>
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        </element>
        <element elementId="252">
          <name>material1</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16087">
              <text>The practitioner primarily works with locally sourced hardwoods such as birch, walnut, ash, maple, and chestnut—woods native to the surrounding forests.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="253">
          <name>material2</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16088">
              <text>The practitioner sources materials locally from the forest. Within the protected natural park of Muniellos (Asturias), there are specific regulations to follow, but residents are entitled to a quota of both living and dead wood per inhabitant. A forest ranger determines what can be cut based on sustainability needs. While the regulations impose certain restrictions, they also prevent large companies from overexploiting the forest. For traditional crafts, a special exemption was secured years ago, allowing artisans to access a larger quota, particularly of live wood. The wood must be cut during the waning moon, left in the forest for a period, and then retrieved. This process ensures the best quality material while maintaining ecological balance. The park authorities have generally been supportive, and in many cases, wood is also sourced from private landowners. A key principle in sourcing materials is respect for the environment. It’s not just about selecting any tree, but understanding which trees should be cut to promote forest health. The older generation practiced long-term thinking, cutting weaker trees to allow stronger ones to thrive, ensuring a sustainable future. While modern attitudes tend to be more exploitative, prioritizing short-term gain, regulations help safeguard the traditional wisdom of sustainable forestry management.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="254">
          <name>material3</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16089">
              <text>The practitioner manages leftovers by keeping larger pieces of wood, which are used for heating homes with firewood, given that many homes in Trabau do not have electric heating, but instead, retain their old wood stoves.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="255">
          <name>production1</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16090">
              <text>The practitioner employs a range of traditional woodworking techniques, beginning with "escornar"—removing the outer layers of a wooden log with an axe to prepare it for further shaping. This is followed by carving with gouges and working on the lathe, where precision tools refine the form of the piece. Beyond the technical process, the craft is deeply rooted in cultural heritage. Historically, cunqueiros traveled across the Iberian Peninsula selling their work for months at a time, carrying with them a unique language and professional jargon. The practitioner takes pride in preserving and continuing this legacy while also expanding the craft to produce items such as castanets, tambourines, and small wooden vessels. At the core of the practice is the tactile and creative connection to the material—transforming a raw, formless block of wood into a refined object guided by both manual skill and cognitive development. Traditional woodworking, despite often being passed down without formal education, demands a deep understanding of materials, cutting techniques, and craftsmanship.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="256">
          <name>production2</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16091">
              <text>The practitioner uses a variety of tools to shape the wooden pieces. These include specialized metal tools, often custom-made by a blacksmith, as they are essential for the craft but not easily obtained in a mass production system. The tools used include a chainsaw to cut down the tree and chop the wood, an axe, a pencil, a compass, a measuring tape, a lathe, and gouges. These are the primary tools used for the entire process.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="257">
          <name>production3</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16092">
              <text>The practitioner has a deep connection with the tools they use, many of which were inherited from Victorino, while others were purchased from a blacksmith or gifted by one when they began working. Some were made by Victorino and the blacksmith, but they don't cut as precisely as tools crafted by a professional blacksmith. The tools are very important to the practitioner, especially the ones passed down from Victorino, not just for their functionality, but also for the sentimental value attached to them. The practitioner takes great care in maintaining these tools, regularly sharpening them to ensure they cut properly and always storing them in a dry place to prevent rust. While some tools, like the chainsaw and sander, are used for finishing the pieces, the manual process is still dominant in shaping the wood. These tools are invaluable, especially as they become increasingly difficult to find. Despite the challenges, there has been no change in their use; to work effectively, they must continue using tools like gouges for the lathe and axes for shaping the wood, as mastering these techniques is key to the craft.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="258">
          <name>production4</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16093">
              <text>The practitioner’s work does not require electricity, except for basic lighting to see while working. Since they work during the day, natural light is usually sufficient. When needed, the electricity comes from a standard power supply. There is no heating system in the workshop.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="259">
          <name>production5</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16094">
              <text>During production, the practitioner generates various types of waste, primarily wood shavings, sawdust, and scraps from cutting and shaping the wood. These byproducts are managed in an environmentally responsible way, with most being composted. The composted material is then used as feed for cattle or as fertilizer for gardens and crops. A few years ago, the practitioner also took part in several tree-planting programs, where they composted sawdust and used it to plant trees in biodegradable trays, contributing to reforestation efforts in degraded or burned areas.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="260">
          <name>workshop</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16095">
              <text>The practitioner’s workshop, known as La Guarida del Cunqueiro, was established in 2021, though they have been active since 2005 (El Rincón Cunqueiro, de Victorino).</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="261">
          <name>products1</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16096">
              <text>The practitioner produces a variety of traditional wooden items, with a strong focus on functional and practical pieces. These include cachus (wine cups), tachadeiras (a type of bowl), cimbreiras (larger bowls), escudienda, and barbeiras (used for shaving), as well as the morteiro (used for grinding garlic). These items traditionally formed the tixela, a specific type of household ware, which the practitioners used to be called tixileiros. However, due to their proximity to Galicia, they were also referred to as cunqueiros because they made cuncas (bowls). Over time, the term "cunquero" became more widely accepted, even though it originally carried a sense of simplification, focusing mainly on the production of bowls. While the practitioner still makes these traditional items, such as cachus and tachadeiras, they also create other objects depending on what inspires them at the moment. The choice of wood and design is deeply connected to their feelings and the characteristics of the wood itself, with the practitioner often letting the material guide the shape and form of the piece. Additionally, they distinguish between artisanal craftsmanship and art, considering their work more linked to cultural heritage and practicality, even though they sometimes venture into artistic creations.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="262">
          <name>products2</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16097">
              <text>The practitioner primarily produces these items for sale, as a means to make a living. While they occasionally create pieces for personal satisfaction, they are careful not to become too attached to any one item. They approach their craft pragmatically, treating each piece as if it were for themselves, but always keeping in mind the need to set a price and ultimately sell the items.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="263">
          <name>products3</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16098">
              <text>The practitioner primarily sells their items at the workshop, where they also offer guided visits. They also exhibit at the Parador de Corias and a local bar. Although the practitioner does not have an online store, they showcase their products on social media, sharing the prices and availability. If an item sells, they inform potential buyers that it's no longer available. Most sales come from larger custom orders, which are necessary for the business but limit creative freedom. While commissions are important for generating income and attracting interest, they feel that being tied to making specific pieces can restrict their artistic expression, as they prefer to work freely based on what inspires them in the moment.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="264">
          <name>products4</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16099">
              <text>The practitioner offers several services, including the sale of wooden products, one-off classes for those who want to learn the craft, and tourist services such as guided tours of the workshop and the natural surroundings.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="265">
          <name>products5</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16100">
              <text>The practitioner does not primarily offer repair services, but they occasionally restore antique wooden pieces or create replicas of specific items. However, this type of work is challenging, as it requires specialized techniques and comes with a significant level of responsibility and commitment.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="266">
          <name>products6</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16101">
              <text>The practitioner’s customers are a broad audience, as their products range from small items like keychains and magnets to larger handcrafted wooden pieces. There is no specific target audience; rather, customers find the practitioner through visits, social media, fairs, and other events.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="267">
          <name>products7</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16102">
              <text>The practitioner does not prioritize formal certifications but values authenticity and personal connections with their work. While certifications can be useful, they believe they often lead to standardization and can sometimes be misused by people claiming authenticity when their products are not truly handmade or artisan. For the practitioner, the most important certification is their own personal seal of approval. They offer a unique handmade stamp on each piece, which includes a QR code linking to a website that explains the history and story behind the item.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="268">
          <name>tourism1</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16103">
              <text>Yes, the practitioner has been engaged in tourism-related activities for years, offering guided visits to the workshop, nature excursions, landscape interpretation, and even bear-watching experiences. These activities have evolved over time, with some being reinvented or replaced as needed. The majority of tourists are domestic, but international tourism has been increasing. However, the language barrier is a challenge in the region, as few locals speak English. Because the practitioner can offer tours in English, many international visitors—mainly from Belgium, the Netherlands, and Germany—end up booking experiences with them. These tourists often seek immersive guided experiences, spending several days in the area with a dedicated guide to ensure smooth communication and a deeper understanding of the environment.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="269">
          <name>tourism2</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16104">
              <text>"El oficio, per se, carecería de sentido a nivel productivo, lo que pasa que tienes que de alguna manera darle forma a nivel turístico para que todo aquel visitante o toda aquella persona que visite esta zona pueda disfrutar de un oficio tradicional, de sus raices y del conocimiento que conlleva todo el oficio; no solo de la técnica en sí de hacer cuencos de madera que cuencos de madera se hacían y se hacen en muchos lugares del mundo, sino de la cultura cunqueira impresa dentro de ese marco, vamos a decir, que es el oficio tradicional en si"</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="270">
          <name>partnership</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16105">
              <text>The practitioner is an active member of their local community, which they consider the most important group they belong to. They participate in co-creation spaces and projects whenever invited and when they feel their contribution can be valuable. They collaborate with anyone whose work benefits the region, including other practitioners and initiatives that support local heritage and traditional crafts. Additionally, they have previously collaborated with academia, having taught courses at the university extension for five years.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="271">
          <name>challenges1</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16106">
              <text>The practitioner faces multiple challenges, mainly related to the sustainability of his craft, life in a rural environment, and the socioeconomic context affecting traditional trades. One of the biggest problems is the tendency to romanticize artisanal trades without considering their economic viability. He believes it is essential for these trades to be profitable in order to endure over time; otherwise, they end up becoming mere museum pieces with no real impact on the lives of those who practice them. For this reason, he insists that it is not enough to recognize the cultural value of artisanal work; it is necessary to ensure that those who practice it can make a dignified living from it. Economic sustainability depends on diversifying activities, combining artisanal production with tourism, agriculture, and other sources of income that allow for a balance between profitability and respect for resources. Without this diversification, the trade becomes a difficult burden to sustain rather than a true way of life. In this regard, the training and workshops he offers are not just recreational activities for those seeking a fleeting experience, but real opportunities for people to learn how to make a living from these trades. It is not just about teaching a technique but showing how to make it profitable without losing the essence of artisanal work. Another fundamental challenge is finding a balance between preserving tradition and evolving so that the trade remains relevant in today’s world. He does not believe in standardizing working methods or in the idea that all artisans should follow the same model, as he considers that the true richness of these trades lies in the freedom of each person to develop them in their own way. For him, culture and knowledge must be in constant transformation and adaptation to new realities; otherwise, they end up disappearing. Depopulation and the lack of neighbors to collaborate with are constant challenges in rural areas. The absence of new generations interested in these trades makes it increasingly difficult to continue traditions and to find colleagues or partners to develop projects with. In addition, regulations and laws, instead of facilitating life in the countryside, often complicate it, limiting residents’ ability to carry out their activities in a sustainable and autonomous way. He also questions society’s perception of rural and artisanal work. He believes there is a contradiction in how many people view life in the countryside: on the one hand, they idealize these trades as something exotic and worth preserving, but on the other hand, they continue to see urban jobs as the only viable option. This mentality makes it harder for more people to truly commit to making a living from traditional trades, as they are often seen as mere tourist experiences rather than real means of livelihood. Finally, the lack of adequate public policies represents another major obstacle. Instead of supporting those working in rural areas, many regulations end up becoming bureaucratic barriers that restrict residents’ freedom to develop their own projects. For the practitioner, the key is to find real solutions that allow these trades to continue to exist—not just as part of cultural heritage, but as a viable and sustainable livelihood for those who choose to dedicate themselves to them.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="272">
          <name>challenges2</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16107">
              <text>Porque al final si no puedes vivir de eso, por mucho que quieras no lo vas a poder hacer. [...] Si tu quieres que los oficios de alguna manera, perduren en el tiempo, tienes que enseñar a la gente como hacerlos rentables y vivir de ello. Es la línea entre sostenibilidad-rentabilidad.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="273">
          <name>references</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="16108">
              <text>Gavela Sal, R. (2024). Valdeprusia. Tierra de los Tixileiros (Tapa blanda). Rodríguez, C. (1960). El habla de Sisterna. CSIC. Red Asturiana de Desarrollo Rural. (2004). Revista de la Red Asturiana de Desarrollo Rural, (Nº 6, Invierno de 2004). Museo Tixileiro. (n.d.). Tixileiro: Museo de los Cunqueiros. Recuperado de https://tixileiro.com/museo/ La Guarida del Cunqueiru. (n.d.). La Guarida del Cunqueiru. Recuperado de http://laguaridadelcunqueiru.com Méndez, I. (2015). Valdeprusia. A terra dus tixileirus [Documental]. Galán, A. (n.d.). Il Moulin [Documental].</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="109">
          <name>Social Media</name>
          <description>The social media links.</description>
          <elementTextContainer>
            <elementText elementTextId="16110">
              <text>facebook,https://www.facebook.com/laguaridacunqueira;instagram,https://www.instagram.com/laguaridadelcunqueiru;</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="108">
          <name>Wiki</name>
          <description>A link to a wiki entry about this item.</description>
          <elementTextContainer>
            <elementText elementTextId="16111">
              <text>https://culturality.museum/wiki/index.php/García_Rodríguez,_Víctor</text>
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          </elementTextContainer>
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            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="16058">
                <text>Víctor García Rodríguez</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="16059">
                <text>Artisan</text>
              </elementText>
            </elementTextContainer>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
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                <text>1992</text>
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            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="16064">
                <text>Spanish</text>
              </elementText>
            </elementTextContainer>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
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                <text>iain</text>
              </elementText>
            </elementTextContainer>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>577</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="16074">
                <text>artisans,asturiasmap</text>
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            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
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              <elementText elementTextId="16109">
                <text>current,42.959326,-6.644387;</text>
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        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
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            <description>The Europeana material type of the resource.</description>
            <elementTextContainer>
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                <text>TEXT</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>
            <elementTextContainer>
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                <text>Spain</text>
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              <text>The craftsman uses a pair of scissors to cut the galvanised sheet metal. On the anvil, the sheet is given a curved shape with the help of a hammer, which is used to strike the sheet. He also uses tin solder to join the parts that make up the watering can. To make the holes, the craftsman uses a kind of metal straw on the galvanised sheet and with the hammer he makes quick blows so that the straw makes the necessary holes for the water to pass through.</text>
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              <text>Before the widespread use of plastic in the equipment and objects industry for use in agriculture, watering cans handcrafted by master tinsmiths met the watering needs of small flowerbeds and vegetable gardens. Metal watering cans are more durable, and many made in the past are still used for small-scale watering or even decorative purposes.</text>
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              <text>Lobão da Beira, Tondela, Portugal</text>
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                <text>cabeceirasdebastomap</text>
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                <text>https://old.cm-tondela.pt/index.php/servicos/museu-terra-de-besteiros/investigacao/funilaria</text>
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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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              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
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                  <text>4</text>
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      <description/>
      <elementContainer>
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          <name>Context</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8249">
              <text>Weaving as many of the cultural practices in a small community, represented just another opportunity to gather the community and enhace social bounding. </text>
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          </elementTextContainer>
        </element>
        <element elementId="236">
          <name>Field Worker</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8250">
              <text>Noemi Ganea</text>
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          </elementTextContainer>
        </element>
        <element elementId="190">
          <name>Climate Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8251">
              <text>Loss of biodiversity</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="191">
          <name>Economic Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8252">
              <text>Insufficient renumeration,Rapid economic transformation</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="192">
          <name>Technological Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8253">
              <text>Industrial production</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="195">
          <name>Demographic Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8254">
              <text>Rural-urban migration</text>
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          </elementTextContainer>
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        <element elementId="196">
          <name>Decontextualization</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8255">
              <text>Misappropriation</text>
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          </elementTextContainer>
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          <name>Globalisation</name>
          <description/>
          <elementTextContainer>
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              <text>Rapid sociocultural change</text>
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          </elementTextContainer>
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        <element elementId="198">
          <name>Weakened Practice</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8257">
              <text>Aged practitioners,Diminishing youth interest,Reduced practice</text>
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          </elementTextContainer>
        </element>
        <element elementId="199">
          <name>Loss Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8258">
              <text>Loss of cultural significance</text>
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          </elementTextContainer>
        </element>
        <element elementId="200">
          <name>Climate Actions</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8259">
              <text>Community Engagement</text>
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          </elementTextContainer>
        </element>
        <element elementId="201">
          <name>SDG</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8260">
              <text>Responsible Consumption and Production</text>
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          </elementTextContainer>
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        <element elementId="187">
          <name>External ID</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8261">
              <text>CJMM_CP_02</text>
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        </element>
        <element elementId="276">
          <name>Knowledge</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8262">
              <text>Manual weaving in Maramureș is a deeply rooted tradition that requires a combination of technical skills, artistic creativity, and cultural knowledge. This practice, passed down through generations, involves intricate techniques and an understanding of natural materials, patterns, and symbolic motifs.  Weavers must master both the mechanical aspects of loom operation and the creative elements of textile design while preserving and passing on this valuable tradition to future generations.</text>
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        </element>
        <element elementId="230">
          <name>Knowledge Transfer</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8263">
              <text>It can be a family tradition passed on from generation to generation, usually on the maternal side of the family,also the skill that can be acquired and mastered during the community meetings ( the so called sezători, especially in the winter when there is less fieldwork to be undergone), and nowadays there are courses available in craft schools/organizations.</text>
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        </element>
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          <name>Practitioners</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8264">
              <text>Especially women had the responsiblity of learning and transmitting this cultural practice,  but also men were involved in the process of wool processing and in some cases also worked alongside their wives. Anuța Stan, the weaver interwied by our team acknowledged that her husband is helping her weaving to be more productive.</text>
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          </elementTextContainer>
        </element>
        <element elementId="223">
          <name>Function</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8265">
              <text> Weaving fosters a sense of belonging and shared cultural identity, as it is often a community-driven activity passed down through generations. Local festivals, workshops, and artisan markets provide spaces for weavers to interact, share knowledge, and preserve traditional techniques. The craft reinforces regional identity, as Maramureș weaving patterns and styles are distinct and recognized as part of Romania’s cultural heritage Older generations play a key role in teaching younger family members, ensuring that weaving remains a living tradition. Many artisans continue to weave for economic sustainability, selling handmade textiles in local and international markets. The resurgence of interest in eco-friendly and slow fashion has increased the demand for ethically made, handwoven products, supporting local artisans.</text>
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        </element>
        <element elementId="279">
          <name>Organisations</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8266">
              <text>Weaving is one of the oldest practices in the area of Maramureș, practitioners are proud to use  generation transmitted tool. They practice it as a source of income by selling their products, usually their workshops are on the premises of their homes. </text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="280">
          <name>Places</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8267">
              <text>Local authorithies and regional authorities became lately aware of the fragility of these practices, consciously promoting craftmen and practices . There are folk art schools and craftmen organisations that activate in conservation and promotion of these crafts, but NGOs are usually the strong voices behing the craftmanship.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="292">
          <name>Artefacts</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8268">
              <text>The tools used are the loom (război de țesut) more that 100 years old in lour case, reel (crâng/vîrtelniță), carder (rășchitor), sley (sucală), warp (urzoi), spindle (fuse), spinning wheel for a thicker type of wool (drugă/fuior). The weavers produce a large ranhge of products, but in our case the practitioner interviewed produces: traditional bags ( traistă), blankets (cergi) and carpets</text>
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        <element elementId="281">
          <name>Climate Threats Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8269">
              <text>lack of first hand raw material</text>
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          </elementTextContainer>
        </element>
        <element elementId="282">
          <name>Technological Threats Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8270">
              <text>industrial production impacts slow hand made production</text>
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        </element>
        <element elementId="287">
          <name>Policy Threats Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8271">
              <text>there are no policies/strategies or action plan that directly address the issue of conservation and promotion of traditional cultural practices.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="288">
          <name>Demographic Threats Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8272">
              <text>small community, younger generation preffer the opportunites of living in the urban area where authentic cultural practices are difficult or unappealing to be practiced</text>
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        </element>
        <element elementId="284">
          <name>Decontextualization Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8273">
              <text>The availability of mass produced,  in many cases fake products that have attractive prices, can affect the interest for genuine hand made authentic products</text>
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          </elementTextContainer>
        </element>
        <element elementId="289">
          <name>Globalisation Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8274">
              <text>it is difficult to addapt adapt traditional cultural prectices to an everchanging socio cultural environment.</text>
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        <element elementId="285">
          <name>Weakened Practice Description</name>
          <description/>
          <elementTextContainer>
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              <text>the practice is not appealing to younger generations </text>
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        </element>
        <element elementId="290">
          <name>Loss Threats Description</name>
          <description/>
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            <elementText elementTextId="8276">
              <text>The ever changing cultural environment might disconsider the significance of traditional cultural practices.</text>
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        <element elementId="298">
          <name>State of the practice</name>
          <description/>
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              <text>declining</text>
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          </elementTextContainer>
        </element>
        <element elementId="293">
          <name>Social sustainability</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8278">
              <text>All small scale cultural practices positively impact the social cohesion of the community</text>
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          </elementTextContainer>
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        <element elementId="294">
          <name>Environmental sustainability</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8279">
              <text>The practitioner uses locally sourced wool, having zero waste ( even lower quality wool is being repurposed), natural dyed colors from plants are used without impacting the enviroment, considerable manual work involved. </text>
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        </element>
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          <name>Economic sustainability</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8280">
              <text>The practice has low economical impact, but it is still used by the practitioner as a source of primary income.</text>
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          <name>Place</name>
          <description>The town or city</description>
          <elementTextContainer>
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              <text>Săpânța, Maramureș</text>
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          <name>Place Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="8282">
              <text>Săpânța village is situated on the right bank of Tisa, next to Valea Tarasului, close to the confluence of Săpânța and Tisa rivers, in the extreme north of Romania, where Maramureș County, borders Ukraine.</text>
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          <name>Prim Media</name>
          <description/>
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            <elementText elementTextId="8306">
              <text>664</text>
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          <name>Domains</name>
          <description/>
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              <text>fibre and textile crafts</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Weaving</text>
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            <description>An account of the resource</description>
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                <text>.Săpânța is not a common village, precisely because it holds on its territory a rare treasure, hard to value in money or words – CIMITIRUL VESEL (THE MERRY CEMETERY). The Merry Cemetery of Săpânța – globally unique and world value monument, where tomb’s crosses are not only guarding the graves, but they are also explicitly speaking in words. The Merry Cemetery of Săpânța, where the epitaphs, unique in the word, show the richness and originality of the Romanian life philosophy and the Romanian mentality of thinking lively and authentically even about after-life things.</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>396</text>
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            <name>References</name>
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              <elementText elementTextId="8246">
                <text>Memoria Ethnologică: https://www.memoria-ethnologica.ro/articole/page/98/ </text>
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            <name>Date Submitted</name>
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              <elementText elementTextId="8247">
                <text>12/06/2025</text>
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            <name>Alternative Title</name>
            <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
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                <text>A țăse</text>
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                <text>current,47.966669,23.7;</text>
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            <description>Date on which the resource was changed.</description>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>657</text>
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        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
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            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
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                  <text>Museum: University of St Andrews</text>
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              <name>Identifier</name>
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              <text>Oral traditions for learning the crafts, certain woven bands for male/female/different families, for childrens crib (Komse), </text>
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          <name>Field Worker</name>
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              <text>Robertsen, Kjersti</text>
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          <name>Climate Threats</name>
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          <name>Technological Threats</name>
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          <name>Loss Threats</name>
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          <name>SDG</name>
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              <text>how to make the warp, how to put the threads through the rigid heddle loom for the wanted pattern. How to do regular weaving, and how to "pick" different patterns. </text>
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          <name>Knowledge Transfer</name>
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          <name>Practitioners</name>
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          <name>Function</name>
          <description/>
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              <text>Traditional bands made for use on the gákti/ Sámi traditional dress, as well as other purposes.</text>
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          <name>Origins and change</name>
          <description/>
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              <text>The technique is very old. The production of the heddles/looms/njiskun themselves have been modernized and mass produced.</text>
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          <name>Organisations</name>
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              <text>Local Sámi Duodjilag (Sámi handicrafts clubs), Duodjeinstituhtta, Sámij åhpadusguovdásj/Samernas utbildningscentrum in Jokkmokk (Sweden)</text>
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        </element>
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          <name>Places</name>
          <description/>
          <elementTextContainer>
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              <text>In this area: Várdobáiki samiske senter, Stuornjargga samiid duodji</text>
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        </element>
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          <name>Artefacts</name>
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              <text>Gákti/traditional Sámi clothes and childrens crib (Komse), but also used for other cultures, including the bunad traditions in Norway.</text>
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          <name>Climate Threats Description</name>
          <description/>
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              <text>If the practitioner cannot get a hold of material, they cannot do the cultural practice</text>
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          <name>Technological Threats Description</name>
          <description/>
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              <text>Use of industrial production, new technologies and modern (for example Synthethic materials) can make the products cheaper and more popular, and might contribute to threathening the cultural practice if there are less and less buyers of the products/users of the products made by the cultural practice</text>
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          <name>Decontextualization Description</name>
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              <text>Touristification and misappropriation of woven objects can contribute to less use of the cultural practice if users/buyers of the products do no longer want to use the traditionally made products instead of the "fake" products.</text>
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          <name>Weakened Practice Description</name>
          <description/>
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          <name>Loss Threats Description</name>
          <description/>
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              <text>Words and terms explaining how to weave, and also the parts of the loom/parts of the yarn, techniques etc. disappear, and a lot of knowledge can disappear with them, as some of the Sámi terms might be more descriptive and explaining than the Norwegian or English ones.</text>
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        </element>
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          <name>Safeguarding activities</name>
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              <text>Duodjeinstituhtta have practitioners who hold workshops and courses in different areas where there are interested participants. Different Sámi duodjilag (handicrafts clubs) also do courses.</text>
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          <name>State of the practice</name>
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              <text>declining</text>
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          <name>Economic sustainability</name>
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              <text>Diversifying income sources - practitioners can make and sell products while still managing to work normally.</text>
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          <name>Place</name>
          <description>The town or city</description>
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            <elementText elementTextId="23093">
              <text>Ramavuolle, Reinåsen, Tjeldsund, Troms, Norway</text>
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          <name>Place Description</name>
          <description/>
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              <text>Markasámi village</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Weaving bands with njiskun/ rigid heddle</text>
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            <description>An account of the resource</description>
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                <text>Weaving bands for traditional clothes or other purposes on a rigid heddle. The heddle is traditionally made from wood or antler, but modern ones are also made with modern materials like plastic.</text>
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          </element>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>Norwegian,Sami</text>
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            <elementTextContainer>
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                <text>lofotenmap</text>
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                <text>Duodjeinstituhtta&#13;
Várdobáiki samisk senter&#13;
Stuornjargga Samiid Duodji</text>
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                <text>Båndveving med njuskun/grindvev</text>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
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            <name>Europeana Data Provider</name>
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                <text>University of St Andrews</text>
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                <text>https://www.westhighlandmuseum.org.uk/</text>
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              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="51">
                  <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>4</text>
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      <elementContainer>
        <element elementId="130">
          <name>Prim Media</name>
          <description/>
          <elementTextContainer>
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              <text>452</text>
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        <element elementId="236">
          <name>Field Worker</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="5076">
              <text>Katarina Šrimpf Vendramin</text>
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          <name>Climate Threats</name>
          <description/>
          <elementTextContainer>
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              <text>Loss of biodiversity,Deterioration of material</text>
            </elementText>
          </elementTextContainer>
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        <element elementId="191">
          <name>Economic Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="5078">
              <text>Insufficient financial resources</text>
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          </elementTextContainer>
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          <name>Technological Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="5079">
              <text>Industrial production,Use of modern materials</text>
            </elementText>
          </elementTextContainer>
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        <element elementId="193">
          <name>Policy Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="5080">
              <text>Educational standardisation</text>
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          </elementTextContainer>
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="5081">
              <text>New pastimes</text>
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          <description/>
          <elementTextContainer>
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              <text>Diminishing youth interest</text>
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        <element elementId="199">
          <name>Loss Threats</name>
          <description/>
          <elementTextContainer>
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              <text>Loss of knowledge,Material shortage,Loss of cultural significance</text>
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          <name>Climate Actions</name>
          <description/>
          <elementTextContainer>
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          <description/>
          <elementTextContainer>
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          <name>External ID</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="5086">
              <text>ZRCSAZU_CP_01</text>
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        <element elementId="245">
          <name>AI Tools</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="5087">
              <text>Yes</text>
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        <element elementId="246">
          <name>AI Content</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="5088">
              <text>Chat GPT was used to summarise and translate the text, and draft some answers which required technical or generalized (i.e. not the interviewer's specific) special knowledge.</text>
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        <element elementId="276">
          <name>Knowledge</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="5089">
              <text>Wet felting requires a combination of technical skills, artistic creativity, and knowledge of materials to successfully transform raw wool fibers into durable felted fabric. More complex pieces, such as garments, require some engineering skills such as tailoring, knowledge of materials and shrinkage, and knowledge of shaping felt. While wet felting is accessible to beginners, refining these skills allows artisans to create intricate and high-quality felted pieces.</text>
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          </elementTextContainer>
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          <name>Knowledge Transfer</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="5090">
              <text>In Škofja Loka and Slovenia in general, the knowledge of wet felting is passed on in group and individual workshops led by experienced craftsmen.</text>
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          <name>Practitioners</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="5091">
              <text>Today, wet felting is primarily practiced by women who have learned the technique through various courses both locally and internationally. In the past, hatters relied on wet felting skills to create their products. However, modern hatmakers now purchase pre-made felt bases (such as cones), making traditional wet felting techniques largely obsolete in their craft.</text>
            </elementText>
          </elementTextContainer>
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        <element elementId="223">
          <name>Function</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="5092">
              <text>Felting supports local artisan businesses and sustainable fashion. Many Slovenian craftspeople sell handmade felted products—such as clothing, accessories, and home décor—at local markets, online, and through eco-conscious brands. For individuals, wet felting serves as a creative outlet that allows self-expression through color, texture, and form. Many practitioners, especially women, participate in felting groups, workshops, and local craft associations, where they share knowledge, collaborate, and support one another.</text>
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          <name>Origins and change</name>
          <description/>
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            <elementText elementTextId="5093">
              <text>Archaeological findings and historical records of wool processing in medieval Slovenia suggest that felting was part of the broader wool industry that thrived in the region during the Middle Ages. Historically, wet felting was a practical skill used primarily by hatmakers and makers of gloves and felt boots/stockings. Today the practice has shifted towards artisans, hobbyists, and artists, mostly women who have learned the craft through workshops, artistic circles, and modern courses. Wool is still used, but felters have access to imported fine wool (e.g., merino), silk fibers, and synthetic blends that allow for greater variety in texture and design. Wet felting in Slovenia has evolved from a functional necessity in rural and professional textile work to a creative, artisanal, and sustainable craft.</text>
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        </element>
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          <name>Places</name>
          <description/>
          <elementTextContainer>
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              <text>The most closely linked to this activity is Škofja Loka, where in the past there was a hat factory where hats were made from start to finish.</text>
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          </elementTextContainer>
        </element>
        <element elementId="292">
          <name>Artefacts</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="5095">
              <text>Wet felting is still done using minimal tools, such as wooden boards, different rollers, and manual handwork, with soap to help fibers bond. Today modern felters use bubble wrap, specialized felting needles, and synthetic felting mats, felting machines and various modern tools that are not specifically designed for this use but are adapted by the craftsman to his own needs (e.g. electric sanding machines) to speed up and refine the process.</text>
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          </elementTextContainer>
        </element>
        <element elementId="279">
          <name>Organisations</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="5099">
              <text>No specific organisation is linked to this practice.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="281">
          <name>Climate Threats Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="5100">
              <text>Biodiversity loss could affect breeding practices, especially of the breeds less economically profitable for the wool (on the account of meat). Material deterioration poses a significant threat to wet felting because it directly affects the quality, durability, and longevity of both raw materials (wool and fibers) and finished felted products. Modern wool processing processes can affect the material's abilities, and access to local wool is difficult in Slovenia.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="282">
          <name>Technological Threats Description</name>
          <description/>
          <elementTextContainer>
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              <text>Machine-made felt and synthetic alternatives, such as polyester felt, have largely replaced traditional hand-felted wool products, diminishing the demand for handmade felting. The rise of fast fashion and mass production has further shifted consumer interest away from artisanal felted goods, which require more time and craftsmanship. Additionally, modern textiles like acrylic and polyester blends offer a cheaper, more uniform, and durable alternative, making them more commercially appealing than labor-intensive wet felting.</text>
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          </elementTextContainer>
        </element>
        <element elementId="285">
          <name>Weakened Practice Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="5102">
              <text>A decline in youth engagement poses a significant threat to the future of wet felting, as fewer young people are learning and continuing the craft. The economic viability of handmade felting is uncertain, making it less attractive as a professional pursuit. There is also risk of reducing interest in traditional, time-consuming crafts like wet felting.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="286">
          <name>Economic Threats Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="5103">
              <text>Products made with the wet felting technique are of a higher price class due to the labour intensive production. There is a limited market for such products in Slovenia, and artisans have to look for financial resources in several activities (e.g. workshops and trainings, selling products in different shops).</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="287">
          <name>Policy Threats Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="5104">
              <text>Wet felting is rarely included in school curricula or mainstream creative programs, limiting opportunities for young people to discover and appreciate the craft.</text>
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          </elementTextContainer>
        </element>
        <element elementId="289">
          <name>Globalisation Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="5105">
              <text>The rise of new pastimes and digital entertainment has significantly impacted the way people engage with traditional crafts like wet felting. New pastimes have reduced direct engagement with traditional crafts but have also created new digital pathways for learning.</text>
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          </elementTextContainer>
        </element>
        <element elementId="290">
          <name>Loss Threats Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="5106">
              <text>Traditional wet felting skills once essential for hat-making have been largely replaced by industrial production, leading to a decline in expertise and knowledge transmission. Local Slovenian wool is becoming harder to obtain due to changes in sheep farming, reduced wool processing facilities, and market competition from imported fibers. Wet felting products, once essential for everyday life (e.g., hats, footwear, textiles), are now seen as decorative or artisanal rather than necessities, reducing their cultural relevance and demand.</text>
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          </elementTextContainer>
        </element>
        <element elementId="293">
          <name>Social sustainability</name>
          <description/>
          <elementTextContainer>
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              <text>Wet felting supports various aspects of social sustainability by promoting gender equality, inclusivity, education, community development, and well-being. Wet felting is traditionally practiced by women, offering economic independence through small businesses, craft cooperatives, and fair-trade initiatives. Wet felting requires minimal equipment and can be adapted for children, seniors, and people with disabilities, making it an inclusive craft. Teaching wet felting helps safeguard cultural heritage and traditional craftsmanship. Schools, community centers, and art programs incorporate felting into hands-on learning, enhancing artistic expression, fine motor skills, and patience.Felting workshops, group projects, and cooperative ventures bring people together, fostering collaboration, social cohesion, and peacebuilding. The repetitive motions of felting are meditative and stress-relieving, making it useful in art therapy and mental health programs. Engaging in handcrafted work promotes mindfulness and well-being, counteracting the fast-paced digital world.</text>
            </elementText>
          </elementTextContainer>
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          <name>Environmental sustainability</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="5109">
              <text>Wet felting aligns with environmental sustainability through its use of natural materials, low-impact production methods, and waste reduction strategies. Sourced from sheep, wool is biodegradable, renewable, and requires less processing than synthetic fibers. Using Slovenian or regionally sourced wool reduces the carbon footprint associated with imported textiles. Unlike synthetic fibers (e.g., polyester), wool does not release microplastics into the environment. Wet felting uses natural soap and water, avoiding toxic dyes or chemicals found in industrial textile production. Wool scraps and leftover fibers can be repurposed into smaller projects, insulation, or composted, minimizing textile waste. Wet felting is done manually, requiring no electricity-intensive machinery, reducing energy consumption compared to factory-based textile production. Felted wool products naturally decompose over time, unlike synthetic fabrics that contribute to landfill waste. Many felted products are sold at local artisan markets, reducing the environmental impact of long-distance transportation. Unlike industrial textile factories, wet felting is often done in small workshops or homes, reducing large-scale manufacturing emissions.</text>
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          <name>Economic sustainability</name>
          <description/>
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              <text>Wet felting supports economic sustainability by providing market access, income diversification, fair trade opportunities, and alternative economic systems. Wet felting allows individuals, especially in rural areas, to create and sell unique, handmade products such as accessories, clothing, and home décor. Many artisans practice felting as a secondary source of income, supplementing traditional farming, textile work, or other crafts. Unlike mass-produced textiles, felted products are often sold through fair trade networks, ensuring fair compensation for artisans. Wet felting provides employment opportunities for women, older adults, and rural communities, promoting economic inclusion. Handcrafted felted goods are often produced and sold within local markets, craft fairs, and sustainable shops, reducing reliance on globalized mass production. Felted products promote the slow fashion movement, discouraging disposable, fast-fashion consumption and supporting ethical production. Learning wet felting allows individuals to create their own textiles, reducing dependence on industrial products.</text>
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          <name>State of the practice</name>
          <description/>
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              <text>stable</text>
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              <text>Škofja Loka, one of Slovenia’s oldest and best-preserved medieval towns, is rich in historical, natural, social, cultural, and economic significance. Founded in the 10th century, Škofja Loka was a key administrative center under the rule of the Bishops of Freising, who governed the area for over 800 years. The town’s medieval layout remains largely intact, with landmarks like Škofja Loka Castle, historic townhouses, and remnants of defensive walls. Historically, Škofja Loka thrived on trade, crafts, and agriculture, with traditional industries such as ironworking, textile production, and woodworking playing an essential role. Today, the local economy is diverse, with tourism, small-scale manufacturing, and services being dominant sectors.</text>
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          <name>Domains</name>
          <description/>
          <elementTextContainer>
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              <text>fibre and textile crafts</text>
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          </elementTextContainer>
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        <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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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Wet felting</text>
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            <description>The nature or genre of the resource</description>
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            <description>An account of the resource</description>
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                <text>Wet felting is a traditional fiber art technique that transforms wool or other natural fibers into a dense, durable fabric by using moisture, heat, and agitation. The process involves layering raw wool, sprinkling it with warm, soapy water, and then repeatedly rolling, rubbing, or pressing the fibers together. As the wool’s tiny scales catch and bond, it forms a tightly interlocked material known as felt. This versatile craft is used to create everything from clothing and accessories to decorative items and art pieces, and it offers a tactile, hands-on way to explore the unique properties of wool.</text>
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            <description>A language of the resource</description>
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            <description>The size or duration of the resource.</description>
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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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            <description>An unambiguous reference to the resource within a given context</description>
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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://www.loski-muzej.si/tovarna-klobukov-sesir/ http://www.amuse.si/opis.html https://www.loski-muzej.si/f/docs/e-publikacije/katalog-KLOBUK---oneline-katalog.pdf</text>
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            <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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                <text>25/03/2025</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>Mokro polstenje</text>
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                <text>current,46.1663222982793,14.307308507957;</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>practices</text>
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            <name>Date Modified</name>
            <description>Date on which the resource was changed.</description>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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                <text>TEXT</text>
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            <description>The name or identifier of the organisation that contributes data to Europeana.</description>
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                <text>University of St Andrews</text>
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          <name>Prim Media</name>
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          <description/>
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          <name>Function</name>
          <description/>
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              <text>For sharpening knives </text>
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        <element elementId="224">
          <name>Creation Purpose</name>
          <description/>
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              <text>Functional use fro sharpening knives </text>
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          <description/>
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              <text>Unknown </text>
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          <description/>
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              <text>A chef's knives are their most important tool. In his carrer (35years) Paul has only had four 'every day' knives. He has recently bought a new knife and is still getting used to it after eight months. The sharpening process is practice that chef. Paul, learnt at hte atrt of his career from a mobile knife sharpener. This cultural practice has changed significantly over the last century - knives can be sent away for sharpening, or practitioners learn to maintain their own. </text>
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            <description>A name given to the resource</description>
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                <text>Wood Plane Side View </text>
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          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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            </elementTextContainer>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
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                <text>iain</text>
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                <text>image/jpeg</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="64">
            <name>License</name>
            <description>A legal document giving official permission to do something with the resource.</description>
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              <elementText elementTextId="15677">
                <text>Creative Commons Attribution-ShareAlike License</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2025:08:19 14:25:53</text>
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        <name>Europeana</name>
        <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>IMAGE</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="99">
            <name>Europeana Rights</name>
            <description>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.</description>
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              <elementText elementTextId="15678">
                <text>N.Sopata</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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            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="15628">
                <text>Wood working chisel </text>
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            </elementTextContainer>
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          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Still Image</text>
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            </elementTextContainer>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>iain</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>image/jpeg</text>
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            <name>License</name>
            <description>A legal document giving official permission to do something with the resource.</description>
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              <elementText elementTextId="15633">
                <text>Creative Commons Attribution-ShareAlike License</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2025_06_19</text>
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        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
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            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
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                <text>IMAGE</text>
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          <element elementId="99">
            <name>Europeana Rights</name>
            <description>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.</description>
            <elementTextContainer>
              <elementText elementTextId="15634">
                <text>N.Sopata</text>
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      <name>Still Image</name>
      <description>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.</description>
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        <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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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Wood Working Chisel on the work bench, with other tools,  in the workshop belonging to AAS_PR_002 </text>
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          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Still Image</text>
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            </elementTextContainer>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>iain</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>image/jpeg</text>
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          <element elementId="64">
            <name>License</name>
            <description>A legal document giving official permission to do something with the resource.</description>
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              <elementText elementTextId="15641">
                <text>Creative Commons Attribution-ShareAlike License</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2025_06_19</text>
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        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
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            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
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                <text>IMAGE</text>
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            </elementTextContainer>
          </element>
          <element elementId="99">
            <name>Europeana Rights</name>
            <description>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.</description>
            <elementTextContainer>
              <elementText elementTextId="15642">
                <text>N.Sopata</text>
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            </elementTextContainer>
          </element>
        </elementContainer>
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      <name>External Item</name>
      <description/>
      <elementContainer>
        <element elementId="221">
          <name>External Type</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="12390">
              <text>Physical Object</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="187">
          <name>External ID</name>
          <description/>
          <elementTextContainer>
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              <text>6303</text>
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        <element elementId="222">
          <name>Archive</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="12392">
              <text>EULAC</text>
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          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <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>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="12388">
                <text>Wooden bird figure</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="12389">
                <text>External Item</text>
              </elementText>
            </elementTextContainer>
          </element>
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    </elementSetContainer>
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      <name>Physical Object</name>
      <description>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.</description>
      <elementContainer>
        <element elementId="130">
          <name>Prim Media</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="26319">
              <text>2050</text>
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          </elementTextContainer>
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        <element elementId="189">
          <name>Natural Cultural</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="26321">
              <text>Cultural</text>
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          </elementTextContainer>
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        <element elementId="223">
          <name>Function</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="26322">
              <text>Sailing in open sea water</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="224">
          <name>Creation Purpose</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="26323">
              <text>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. </text>
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          </elementTextContainer>
        </element>
        <element elementId="225">
          <name>Technique</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="26324">
              <text>By hand, as described in the </text>
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          </elementTextContainer>
        </element>
        <element elementId="227">
          <name>Conecept</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="26325">
              <text>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. </text>
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        </element>
        <element elementId="228">
          <name>Production Quality</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="26326">
              <text>Bespoke artisan production. </text>
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          </elementTextContainer>
        </element>
        <element elementId="187">
          <name>External ID</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="26327">
              <text>AAS_AR_16</text>
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          </elementTextContainer>
        </element>
        <element elementId="236">
          <name>Field Worker</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="26328">
              <text>Netty Sopata</text>
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          </elementTextContainer>
        </element>
        <element elementId="274">
          <name>Craft</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="26330">
              <text>woodwork</text>
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          </elementTextContainer>
        </element>
        <element elementId="275">
          <name>Tool</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="26331">
              <text>Hand saws / hammers / chisels / steamers: Traditional Joinery Tools</text>
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          </elementTextContainer>
        </element>
        <element elementId="155">
          <name>Place</name>
          <description>The town or city</description>
          <elementTextContainer>
            <elementText elementTextId="26332">
              <text>Stornoway</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>
              <elementText elementTextId="26310">
                <text>Wooden Boat</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
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                <text>Physical Object</text>
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            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
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                <text>Wooden, dipping lug sailing boat traditionally used for fishing in the sea areas surrounding the Hebrides. </text>
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            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="26314">
                <text>Scottish Gaelic</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="26316">
                <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="26317">
                <text>789</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="26318">
                <text>craftedobjects,scotlandobjects,highlandandislands</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>
            <elementTextContainer>
              <elementText elementTextId="26320">
                <text>18/12/2025</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="26329">
                <text>Sgoth</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="81">
            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="26333">
                <text>current,58,-6;</text>
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            </elementTextContainer>
          </element>
          <element elementId="61">
            <name>Date Modified</name>
            <description>Date on which the resource was changed.</description>
            <elementTextContainer>
              <elementText elementTextId="26336">
                <text>18/12/2025</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
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      <elementSet elementSetId="4">
        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
        <elementContainer>
          <element elementId="100">
            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="26313">
                <text>TEXT</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
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    <itemType itemTypeId="15">
      <name>Physical Object</name>
      <description>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.</description>
      <elementContainer>
        <element elementId="130">
          <name>Prim Media</name>
          <description/>
          <elementTextContainer>
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              <text>1268</text>
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          </elementTextContainer>
        </element>
        <element elementId="132">
          <name>Material</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17423">
              <text>Wood, birch</text>
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          </elementTextContainer>
        </element>
        <element elementId="189">
          <name>Natural Cultural</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17425">
              <text>Cultural</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="223">
          <name>Function</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17426">
              <text>The cachu is a small wooden bowl used for serving and drinking wine</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="224">
          <name>Creation Purpose</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17427">
              <text>As a souvenir for the first edition of the "Cachu Fest" a arts and crafts festival in Trabáu, Degaña. </text>
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          </elementTextContainer>
        </element>
        <element elementId="225">
          <name>Technique</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17428">
              <text>Pedal lathe. It takes about 45 minutes to one hour to make the piece, in addition to the time required for felling and drying.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="226">
          <name>Material Source</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17429">
              <text>Local wood: Parque Natural de Cangas del Narcea, Ibias y Degaña</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="227">
          <name>Conecept</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17430">
              <text>It is part of the tixela, one of the easiest, fastest, and cheapest pieces to make in the entire tixela. And for that reason, it is one of the pieces that Víctor makes the most.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="187">
          <name>External ID</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17431">
              <text>ESPTOR_AR_02</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="236">
          <name>Field Worker</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17432">
              <text>Olaya Alonso López</text>
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          </elementTextContainer>
        </element>
        <element elementId="274">
          <name>Craft</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17434">
              <text>woodwork</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="275">
          <name>Tool</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="17435">
              <text>Chainsaw, axe, pedal lathe, gouges, and sandpaper</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="155">
          <name>Place</name>
          <description>The town or city</description>
          <elementTextContainer>
            <elementText elementTextId="17436">
              <text>El Bao (Il Bau) and Sisterna (Astierna) in Ibias; El Corralín (El Curralín) and Tablado (Trabáu) in Degaña (Asturias, Spain)</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="108">
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                <text>Gaxapu</text>
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                <text>Art,PEOPLE,SOCIAL HISTORY</text>
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                <text>Creative Commons Attribution-ShareAlike License</text>
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            <description>The Europeana material type of the resource.</description>
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                <text>Universidad de Oviedo</text>
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            <description>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.</description>
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                <text>Paula Labrador, Enrique Meléndez y Santiago Rodríguez</text>
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