18 100 1899 https://culturality.museum/omeka/files/original/ef4cb18eee454946722f1b7b1f91d133.jpg 4a2d0b32f371168439943ee8a9d77825 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(12) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/90846c9ce47c580c18ce857183d5885e.jpg 63b5995d8a56456572aa95a30ff8c24a Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(13) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/4041da1055cbd65760b5084118f15aa2.jpg 3597cb777f55d249874072b8d35e86d8 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(14) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/5146d45778c93978faca6c15fc72e5e4.mp3 40ad048a5d81a7de641637ca45f6dcd4 Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(01) Type The nature or genre of the resource Sound Contributor An entity responsible for making contributions to the resource iain License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. SOUND https://culturality.museum/omeka/files/original/50ad48c7165754cf18e5df02878cbe2b.mp3 1b05c4204cdf092803bf212d63993418 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Intangible:Taramundi traditional knifemaking Identifier An unambiguous reference to the resource within a given context 1964 Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(02)​ Type The nature or genre of the resource Sound Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource audio/mp3 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. SOUND https://culturality.museum/omeka/files/original/46c3b0090eb7e1765b7195e48f5b0129.mp3 5227340c11c35318d483cd0c007d5e5c Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(03)​ Type The nature or genre of the resource Sound Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource audio/mp3 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. SOUND https://culturality.museum/omeka/files/original/4c851068735ac77d458f95bfe81565d8.MP4 e27335bc14512ab9911c0b639250b970 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(01) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_01_.MP4 https://culturality.museum/omeka/files/original/f6bc177d49f3fae68688a7795e7d8b6d.MP4 173346653ca82c64151d23e43964f1f1 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(02) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_02_.MP4 https://culturality.museum/omeka/files/original/59b48555cdbb487a8ac8ceff1a18600e.MP4 a05bf99d58d62333c2f6ddef09ea65d2 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(03) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_03_.MP4 https://culturality.museum/omeka/files/original/ee5951db4a147187efa9f1f3a0edf7f8.MP4 81f91439e182104ff9ff40f7ba7dabd1 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(04) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_04_.MP4 https://culturality.museum/omeka/files/original/080bdcf85365e3edd204177c2acc9fb0.MP4 81f91439e182104ff9ff40f7ba7dabd1 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(04) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_04_-1.MP4 https://culturality.museum/omeka/files/original/2078e7447fd66da679a8286a46659bda.MP4 41a646f3b5107849d8560aef3af9f99c Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(05) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_05_.MP4 https://culturality.museum/omeka/files/original/6119fa28701aebf7e136f805cc7c2c54.MP4 087caa637d2b8893fe2a1ef4eba8c603 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(06) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_06_.MP4 https://culturality.museum/omeka/files/original/cd18ad4589e42d644b5fe26c9262ca44.MP4 6e18477272283418d9ccb502984168e3 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(07) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_07_.MP4 https://culturality.museum/omeka/files/original/705d8538abbb5110ccc32847a3681001.MP4 0cca70ae07b19080deab1d64196544ea Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(09) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_09_.MP4 https://culturality.museum/omeka/files/original/59840d7dc731d61b3f7ed9b837fa7cf1.MP4 cc9845f35c1899b854f7c647aeef5092 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(10) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_10_.MP4 https://culturality.museum/omeka/files/original/072938b83d88bd710e884028ac09b7d4.MP4 d3cf2cbdc823568c35fbfaa0c603d208 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(11) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_11_.MP4 https://culturality.museum/omeka/files/original/3c0f09c0fac6b6c172db5142a7963f3a.MP4 80b47f69b9a0f752f1c91555d5745c61 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(12) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_12_.MP4 https://culturality.museum/omeka/files/original/4b28761273f4c030e40795bd40dfceb6.MP4 10f5761656dc6b217858ef6ef3c88dfd Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(13) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_13_.MP4 https://culturality.museum/omeka/files/original/b38967bd90953abe907473db8513a73f.MP4 8991f8f7d9f7c576ec18af9de53f2c0e Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(14) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_14_.MP4 https://culturality.museum/omeka/files/original/25addf3be636e751428d5b6a34d7bfdd.MP4 dd04d3c24c4680a1dea0649d79f15766 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(15) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_15_.MP4 https://culturality.museum/omeka/files/original/28ed30b64a4689555ad96b9cb3b46415.MP4 adc8fa725054d84f416a79ad91c7c66d Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(16) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_16_.MP4 https://culturality.museum/omeka/files/original/65ec0f55e30ba6efb4916512e47a22a0.MP4 36a6559d0761c0ce48f4aade96d855c0 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(17) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_17_.MP4 https://culturality.museum/omeka/files/original/cdce64c6bf6fd69286f1b298595e69ba.MP4 5e9754543f418f6cd9b165f88b29eff0 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(18) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_18_.MP4 https://culturality.museum/omeka/files/original/95c287c7176299ee564dad2e9f3378c9.MP4 48a702060e8b9bdc2e3b099a507fc18f Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(19) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_19_.MP4 https://culturality.museum/omeka/files/original/c25fdfea574cfa3a6cf61e63a6dd72db.MP4 af4e0bfc018e21c12c9849ea6237017e Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(20) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_20_.MP4 https://culturality.museum/omeka/files/original/1c26fdab32148930777ad8e6096fcf3f.MP4 17fcad0d46295cf0f1569ff6acf304f6 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(21) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_21_.MP4 https://culturality.museum/omeka/files/original/e7cfbe0457b38edaec04218d06d40f82.MP4 2a78b9109cbf7b1c7edf7cf6af8c352b Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_CP_03(22) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_CP_03_22_.MP4 Artisan An artisan Author iain Biographical Text Jorque Toquero Román was born in Tudela de Duero, a village in the province of Valladolid, in 1974. He currently lives in Santalla de Oscos. Craftsmanship is his way of life. Before dedicating himself to craftsmanship, he worked for eleven years in the construction sector. Although his father owned a construction company and life led him in that direction, he never felt truly fulfilled. When he was born, his village had around 5,000 inhabitants; today, it has grown to over 11,000. He was always drawn to rural life and wanted to remain in that environment. One of the reasons behind his decision to change paths was precisely that: to stay connected to rural living. He found out that there were knife-making courses in Taramundi, offered through a training workshop. He was already familiar with the Taramundi knives and found the subject appealing, so he decided to give it a try, hoping he could make a living from crafting knives. And he succeeded. For him, it was an opportunity he didn’t let slip by. He lived in Taramundi for five years. Later, he broadened his experience through several trips to Japan, where he worked in knife-making workshops in Tokyo. From that point on, he decided to set up his own business as a knife-making artisan, creating handmade products that blend the traditional craftsmanship of the Oscos-Eo region with Japanese knife-making techniques. External ID UNIOVI_PR_06 Knowledge Acquisition Jorge received his initial training in knife-making in Taramundi, at a workshop school. There, he learned everything necessary to begin the process of crafting knives and folding blades. Years later, he traveled to Tokyo and attended a knife fair in Ginza. He was struck by the level of finish in Japanese knife-making—it was so refined that he even questioned whether the pieces were truly handmade or industrially produced. To him, it seemed incredibly complex. He established relationships with several Japanese knife artisans and began learning to work as they did. Keiko’s father, his wife’s father, owned a metal supply warehouse in Tokyo and encouraged him to improve his craft. He gave him a significant push to focus more on finishing techniques, which are highly valued in Japan. Finishes, heat treatments, and other details are essential, as Japanese knife-making strives for excellence and the highest standards in both materials and cutting quality. Part of his training has been self-taught, which he sees as intrinsic to the artisan’s path. The more you work, the more you learn, and daily practice leads to improvement. This is one of the pillars of Japanese artisan philosophy: to improve a little every day. Not through big leaps, but through the ambition to surpass oneself, to be slightly better each day. He also undertook specific training programs. His first trip to Japan was aimed at learning traditional Japanese techniques for working with iron and steel. There, he trained in several knife-making workshops to learn different methods and approaches. Knowledge Transfer He has not had any apprentices, nor has he conducted training courses for others. Field Worker Santiago Rodríguez Pérez Lucía Pérez Fernández Area Relation incomer Area Reason Jorge moved to this area around the year 2000, driven by his interest in establishing himself as a craftsman Occupation metalwork Involvment full-time paid job knowledge1 Jorge believes that thoroughly understanding the craft and mastering its various techniques is essential. A craftsman must have basic knowledge of metallurgy, be able to interpret tempering diagrams, and know how to properly work with steel. That is fundamental. Finishing and polishing can be learned over time, but working steel correctly is indispensable. A deep understanding of forging techniques is also necessary, as the quality of the pieces depends on it. If things aren’t done properly, the raw material can be ruined. It’s not just about heating a piece of iron any which way and stretching it—specific knowledge and the right tools are required. He also considers hand tools to be important and has made an effort to preserve that aspect of the trade. material1 He primarily works with stainless steels and carbon steels, although in some less frequent pieces, he uses antique iron. In certain works, he combines carbon steel with antique iron. He often uses Japanese steel in his creations. He frequently employs the Sanmai technique. In Japanese, san means “three” and mai means “layers.” He crafts the blades using this ancient method, which combines multiple layers of steel and iron. Another technique he occasionally uses is Gonmai (five layers). When working with stainless steels, he turns to a modern technique called Suminagashi. This method creates a pattern resembling wood grain or floating brushstrokes, similar in appearance to Damascus steel, though it is not traditional Damascus but rather a decorative laminate. The materials he uses are not difficult to obtain; all are available within Europe. Nowadays, thanks to the Internet, it is possible to access suppliers offering a wide range of steels and qualities. material2 Some of the materials he uses come from Japan, such as shirogami, aogami, and other steels. The basic stainless steel he works with, ACX 380, comes from Albacete (Spain). The softer steels, used for items that do not require high cutting performance, are sourced from Lugo (Galicia). More specialized steels, though not Japanese, are supplied by a French distributor. He also works with German suppliers, but his main sources are Japanese, French, and Spanish—particularly from Albacete. The most special and highest-quality steels come from Japan or France. He has no difficulty obtaining materials, as there are many distributors accessible online. In the past, he worked with a supplier from the Basque Country, which has since closed. As for the handle woods, he mainly uses locally sourced briarwood and boxwood. The boxwood currently comes from Navarra, though he used to source it from Huesca. For his more elegant series, he uses woods commonly found in musical instruments, such as ebony, grenadilla, ironwood, or violetwood. The reason is the same as for luthiers: these denser woods are less affected by humidity. In instruments, this prevents detuning; in knife-making, it prevents misalignment of the parts. The denser the wood, the less it reacts to moisture, helping maintain pressure and ensuring a better fit between the blade and the handle. A folding knife that relies on the pressure of the wood to hold the blade in place may require frequent adjustments if made with softer woods, as they are more sensitive to humidity changes. Boxwood has a high density—around 960 kg/m³—which helps prevent such variations. Grenadilla is even denser, reaching 1,240 kg/m³. He always uses fine hardwoods in his knife-making. material3 Metal waste is generated during the process. The leftover wood is used as fuel in a wood-burning stove for heating, and the sawdust is used for composting. As for the metal, since it cannot be easily recycled, it is properly disposed of. production1 In the work of forging and knife-making, there is no single process, but rather a combination of multiple techniques that result in diverse pieces and finishes. Jorge combines the knowledge he acquired during his training as a knifemaker in Taramundi with the techniques he learned during his successive trips to Japan. One of the forging techniques he uses most frequently is the combination of steel with old iron, a hallmark of Japanese knife-making. When iron is melted, it absorbs carbon from the charcoal and becomes carburized. To eliminate bubbles from the casting, it is heated, hammered, and compacted. Then, the piece is stretched, folded, and joined at temperatures close to 1200 °C. This process is repeated between 10 and 15 times, generating the visible longitudinal lines on the blades—these are the accumulated folds. This is the process of original Damascus steel. The characteristic pattern of Damascus steels comes from the steel ingots that were imported to Syria from India. These folds give the steel great flexibility, allowing it to bend and return to its shape without breaking. The folding process imparts valuable mechanical properties to the metal. Katanas, for example, are made using this technique, combining iron cores with steel and applying multiple folds. This method was common in the manufacture of bladed weapons, as it allowed them to absorb the impact vibrations without fracturing. Polishing was a technique Jorge perfected during his third trip to Japan. By then, he had already mastered finishing techniques with Tanaka, his master, with whom he met other experts in polishing techniques and trained with them. Taramundi provided him with the foundations of the knifemaking craft, and from there, his evolution as an artisan began. Another fundamental technique is grinding. Starting from steel sheets, a blank is cut in the desired shape and ground with an emery wheel to define the edge. The grind can be concave or convex. Jorge believes that knife-making allows him to develop his creativity, working with different materials such as wood and metal. He has always been interested in doing artisanal, manual work—work made by hand. The technique used depends on the type of piece to be made. For example, for a blade made by stock removal, the blank is cut, ground with an emery wheel, and then normalized in an electric furnace, depending on the type of steel. Depending on the alloying elements and the percentage of carbon, different heat treatments and specific temperatures are applied. After normalization, hardening is carried out. For knives made by stock removal, he uses 0.5 mm stainless steel foil to wrap the piece like an envelope, creating an oxygen-free atmosphere. He preheats the furnace to the appropriate temperature for the steel, as well as the oil in which the piece will be quenched. Then he performs the hardening and subsequently three tempering cycles, each at a specific temperature depending on the material. Once tempered, he sharpens the blade and, in some cases, performs a mirror polish. For polishing, he starts with 400-grit sandpaper to remove marks from the abrasive belt and progressively increases the grit: 600, 800, 1000, 1200, 1500, 2000, and 2500. Finally, he polishes with compound and cloth, achieving a mirror finish. As for the handles, he uses materials such as micarta, G10, and fine woods. These pieces are usually accompanied by leather sheaths. To make the handles, he draws the template on the wood sheet based on the blade, cuts it out, and shapes it with a sander. In other pieces, he uses a tang, and from the wood block, he shapes the handle. production2 There are many tools involved, ranging from traditional ones used in artisanal iron forging (such as anvils, hammers, and forges) to much more modern equipment. Jorge understands that, in order to guarantee a minimum level of quality, he needs at least a tempering furnace and the ability to control temperature during the forging process. On his first trip to Japan, he discovered the importance of temperature control when working with different types of steel. Each steel has its own specific characteristics, so it is essential to work within its appropriate temperature range. If those limits are exceeded during forging, the metal deteriorates and becomes irrecoverable. He also considers manual tools to be important and has made an effort to preserve that traditional aspect of the craft. Certainly, nowadays they are not strictly necessary, but proper forging improves the final product—provided one knows how to forge. On one of his trips to Japan, he worked with the same tools that were traditionally used in Asturias: hammer, anvil, forge, etc. Over time, however, he sought out experts, conducted research, and improved his training. He concluded that if you don’t know how to do things properly, you end up damaging the raw material. If traditional forging is used, it must be used correctly. It’s not enough to simply heat iron any way you like and stretch it. A whole body of technical knowledge is required, along with specific tools. An electric furnace is essential. This type of furnace is indispensable for processes such as normalization. With certain steels, it is necessary to maintain the piece at 600 °C for a specific period of time, which can only be achieved with an electric furnace capable of reaching and sustaining that temperature. In a traditional forge, this is simply not possible. production3 He keeps using traditional forging tools because he considers it important not to lose that connection with the past. Certainly, with the means available in earlier times, there were artisans capable of creating true marvels. Nowadays, if you have the right knowledge and know how to handle the tools, you can produce very high-quality pieces. To get started in the craft, there are a number of basic tools: first, a forge with a pyrometer (type K probe), an electric furnace, a belt sander, polishers, a milling machine (not essential, but useful), and a lathe for shaping handles. He owns a copy lathe, although he usually finishes the knives by hand. One especially important tool is the electric furnace, which is essential for giving the steel good cutting quality. You can make beautiful tools, but without that furnace, the steel won’t acquire the necessary properties for proper performance. production4 Electric furnaces have a power range between 2000 and 2400 W, which means energy consumption is high. For now, they do not work with renewable energy sources, except for the wood-burning stove used to heat the workshop. Jorge would love to have access to renewable energy, but currently lacks the resources to afford an installation of that kind. It is something desirable for the future. production5 Metal scraps are generated during the process. The leftover wood is used in the wood-burning stove for heating, the sawdust is composted, and the metal (since it cannot be recycled) is removed and discarded. workshop Jorge runs his knife-making workshop in what used to be the chicken coop of their home, which they have converted and expanded into a metalworking studio. They’ve had the workshop since 2012 and officially opened it in 2013. It was originally a small shed, which they significantly enlarged and fitted with large windows that let in natural light for working. The workshop has a back area where all the tools and the forge are located, with separate spaces for the polishing machine and other equipment. At the front, there is a small shop where they display and sell their work to the public. Jorge shares the workshop with iron artisan Keiko Shimizu, who is also his wife. products1 The workshop mainly produces knife-related items, including both folding knives and various types of fixed-blade knives. Jorge started with fixed-blade knives and later began developing folding knives with greater technical complexity. Profitability is always a challenge: some periods see better sales than others. He takes on the challenge of making different types of products, but even though some pieces require a great deal of work, they don’t always sell, so he must adjust production to market demand. His artisanal production is focused on quality, that is his top priority: to produce high-quality work. However, in order to sustain the business, he also needs to make affordable items. His goal, though, is to produce high-end, quality pieces, and he enjoys crafting them. High-quality folding knives tend to sell well. In fact, if he were to learn another craft, he would be interested in working with jewellery-making techniques, which he could also apply to his knife production. products2 The main purpose of all his production is for sale. Most of it is sold directly to the public, while another portion is through custom orders. products3 There are several sales channels. On one hand, his own website, where he sells part of the artisanal production he makes. He also has a physical shop within his workshop, where he sells directly to the public. Some pieces are sold through distributors. They no longer attend craft fairs or traditional markets, as he no longer considers them worthwhile. He also receives custom orders from clients looking for exclusive handmade knife products. products4 He is fully dedicated to his craft and does not offer other types of services. products5 If a client were to request a review or repair of a piece, he would be able to do it without any problem. products6 Jorge has a diverse customer base. On one hand, tourists visiting the area who purchase his products either directly from his home or through small local distributors. On the other hand, knife collectors. These are the two main customer profiles. Some clients buy a folding knife for everyday use, without any particular expectations, while others are looking for exclusive artisanal pieces. He offers knives ranging from €18 to over €600. products7 There are no labels, quality seals, or protected geographical indications for the artisanal knife-making work carried out in western Asturias. Efforts are being made in this direction, but as of today, there is no certification in place. So far, no such seal has been obtained. tourism1 He does not carry out specific activities for tourists, beyond producing items for sale that are purchased by visitors. tourism2 “Pero el turismo tiene un límite. Mientras la economía funcione, habrá turismo, pero es un sector muy dependiente de otras circunstancias. El turismo también se vendió, pero da para lo que da, y no da para mucho. Los habitantes del medio rural tienen que sostenerse y hacer frente a estos cambios, y no fiarlo todo al turismo como sector económico.” “El turismo de los Oscos es todo nacional, y mientras la economía vaya bien, hay turismo, pero es variable, durante las crisis no hay flujos turísticos. Es algo variable.” partnership He does collaborate with other artisans. For example, in partnership with a fellow craftsman from Fonsagrada, a neighbour, he designed a circular ring locking system for folding knives. He has worked with him on other creations as well. He also collaborates with public institutions, such as the Santalla d’Oscos Town Hall, where he resides. challenges1 There is a generational crisis among artisans, who are increasingly aging. In Jorge’s region, artisanal activity continues, but more workshops are closing and there is no generational renewal. This crisis should have been addressed years ago.He mentions some initiatives in rural areas of other regions that aim to find people willing to take over businesses from those retiring, such as bakeries. If these businesses close, villages lose vitality. When services are available, population can be retained. One of the major challenges in rural areas is retaining population. It is essential, but very difficult. Tourism helps to some extent, but it is not enough. Retaining population would allow for the maintenance of a range of basic services. In Taramundi, for example, a few years ago there was a tourism boom, which led to the creation of many businesses. However, there is now a crisis. Years ago, towns like Taramundi and Santalla were economic drivers linked to tourism. When Fritz (Ferreiros de Mazonovo) and other artisans arrived, the region began to thrive, but now Jorge believes it has stagnated again. There was interest in attracting newcomers, but the people who were young yesterday are now older, and a new generational shift is needed, yet there is no guarantee of renewal. Another serious issue is housing. People come looking for homes, but there are none available, and prices are high. It is difficult to find jobs in rural areas that allow people to afford housing, as salaries are low. Access to mortgage credit is limited. Housing is scarce, and prices have risen significantly in recent years, making it hard for people to settle. Some people want to move to the area, but there is no housing, and the little that exists is overpriced. This prevents new residents from settling and creates a future crisis. Those who do come often have high purchasing power, are elderly, or use the houses as second homes. This external demand also drives up prices and limits access to housing. Housing is perhaps the greatest challenge facing rural areas today. Houses become second homes, and villages end up depopulated because no one can afford to live there permanently, nor do they bring children to the area. Access to housing is complex, and so is access to employment in rural areas, where job opportunities are limited. Jorge believes that as long as tourism exists, they will be able to survive. The challenge is to maintain tourism. Another major challenge is preserving basic services such as education and healthcare. Demographics are also in crisis. For Jorge, housing is the main challenge in the rural area, perhaps even more than employment. Secondly, he believes that newcomers must create their own jobs. Tourism generates some employment, but very little. Livestock farming is difficult to enter without access to land, and there are already farmers in the area. It requires a lot of land. Some people come and try, but it’s also complicated because the population is small, there are few clients, and businesses struggle to survive on the limited income from residents. Other businesses lack generational continuity. Another challenge he identifies is the need to maintain tourism and preserve basic services such as pharmacies, schools, and health centres. In Santalla, basic services are barely maintained. Then there is the issue of remote work. In the post-pandemic years, remote work was considered a possible solution to depopulation. When Jorge researches and innovates in the creation of new pieces, he explores new paths through manual and traditional craftsmanship. He believes knife-making is deeply connected to the culture of a people. He feels that if he can make a living from his craft and is happy doing so, then it is perfectly valid. In the traditional knife-making of the region, there are many other perspectives that are also valuable. challenges2 “Éramos jóvenes, pero empezamos a ser viejos, y necesitamos que venga otra generación” […] “No hay garantía de continuidad”[…] “Hay gente que quiere venir pero no hay viviendas, y las pocas que hay, están a esos precios (desorbitados)”. La gente joven, con capacidad de generar vida otra vez en el pueblo, no puede acceder.” "La capacidad de acceso a un puesto de trabajo que te permita adquirir las viviendas, también es difícil. O traes el dinero para hacer la inversión, o imposible.” references La Nueva España. (2024, September 7). Santalla revisa el pasado navalleiro. La Nueva España. https://www.lne.es/occidente/2024/09/07/santalla-revisa-pasado-navalleiro-107854901.html Jardón, M. (2024, June 9). «Continuamos la tradición cuchillera de la localidad, que tiene más de 200 años». Pegados a la Tierra. https://pegadosalatierra.elcomercio.es/hyottoko-artesania-santa-eulalia-de-oscos-asturias/ Muñiz, I. G. (2023, June 16). Hyottoko, forja y navajas a fuego lento. Fusion Asturias. https://fusionasturias.com/otras-secciones/arte-y-museos/hyottoko-forja-y-navajas-a-fuego-lento.htm RTPA – Radiotelevisión del Principado de Asturias. (2022, November 22). TPA a la carta: Dr. Lobo, del martes 22 de noviembre de 2022. RTPA. https://www.rtpa.es/video:Dr.-Lobo.--T.3-Cap.-9-Santa-Eulalia-de-Oscos_551669166581.html España Artesana. (n.d.). Hyottoko. España Artesana. https://espanaartesana.com/hyottoko be-glu.com. (2024, August 13). Hyottoko Artesanía. https://be-glu.com/en/hyottoko-artesania/ Social Media The social media links. facebook,https://www.facebook.com/hyottokoartesania;instagram,https://www.instagram.com/navajashyottoko/; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Toquero_Román,_Jorge Prim Media 2005 Shop https://www.hyottokoartesania.com/comprar/ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jorge Toquero Román Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1974 Language A language of the resource Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 777 Spatial Coverage Spatial characteristics of the resource. current,43.25921735207668,-5.993868917107711; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. 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Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 3/7/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Santiago Rodríguez Pérez https://culturality.museum/omeka/files/original/c049e9fd88e47bc37b2f80fd16dc2d93.jpg 6ae514909da09c9942c2b9e1f257a7bb Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(04) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Santiago Rodríguez Pérez https://culturality.museum/omeka/files/original/584d7866667ec2c9fc5449a0b3f0b2de.jpg 491d243ca7bd4f7aaa917018cd7a44bb Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(05) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/376d66ba55ccb40c22793fd3d35c2bb5.jpg 78c4403727bb340562caa911f262a8f7 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(06) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Santiago Rodríguez Pérez https://culturality.museum/omeka/files/original/30a42fd84a479ce5454ad02cca03c5af.jpg 6a57688ed1071909777ef01ced9ed6fc Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(07) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Santiago Rodríguez Pérez https://culturality.museum/omeka/files/original/d24aa3b6af843e26a834fbdaf669f14d.jpg 6b6b491f686cfc02d0d8b27d814e31aa Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(08) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Santiago Rodríguez Pérez https://culturality.museum/omeka/files/original/a370d7d38d946e7edd453e3028e769bb.jpg 0dafc8a3a2288db2da5623435dffe451 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(09) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Santiago Rodríguez Pérez https://culturality.museum/omeka/files/original/f6aa9607c0b3c79d566b6c8abf05341e.jpg 4dc7fca6412a2e93816134c7135e7377 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(10) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Santiago Rodríguez Pérez https://culturality.museum/omeka/files/original/ab08d93b1ba4f6f8cde1fdbd8f16baa5.jpg 3d4c2950856c825b241a70ad290ee866 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(11) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Santiago Rodríguez Pérez https://culturality.museum/omeka/files/original/e33f4074666f8a52fb2fc3f4971b8910.jpg 7622a89e36b2fc4a48193ad90b96dbca Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(12) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Santiago Rodríguez Pérez https://culturality.museum/omeka/files/original/b34e3b56c17a294d0910a0f577b079e7.MP4 2a78b9109cbf7b1c7edf7cf6af8c352b Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(01) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_01_.MP4 https://culturality.museum/omeka/files/original/b02e569e5634e64831e96fe10c57f1eb.MP4 e5ff790079970e498160520e9a64ec5b Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(02) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_02_.MP4 https://culturality.museum/omeka/files/original/ab2598693dc8c0838504796514be17fa.MP4 adc8fa725054d84f416a79ad91c7c66d Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(03) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_03_.MP4 https://culturality.museum/omeka/files/original/54515168533860d945cf3ec3d2152678.MP4 682cdda3e16d1ed7ca241e47b38d4aed Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(04) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_04_.MP4 https://culturality.museum/omeka/files/original/5646cba46a65dc1415edb9b5418f18b5.MP4 36a6559d0761c0ce48f4aade96d855c0 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(05) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_05_.MP4 https://culturality.museum/omeka/files/original/dfaa7ecc9b0e7f3384c4f8f568d05bb6.MP4 5e9754543f418f6cd9b165f88b29eff0 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(06) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_06_.MP4 https://culturality.museum/omeka/files/original/01502d58c6e00775774c1a3055111335.MP4 48a702060e8b9bdc2e3b099a507fc18f Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(07) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_07_.MP4 https://culturality.museum/omeka/files/original/996e46936e469f214e7ba404c45f5ad4.MP4 61d5e965fa018e0fde4eab708395246c Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(08) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_08_.MP4 https://culturality.museum/omeka/files/original/d40216c14caf358df52317cf75dba583.MP4 885414fdecb4effe60e447345f0dbefc Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(09) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_09_.MP4 https://culturality.museum/omeka/files/original/a23351a3d689470fa0b1d64b866fa624.MP4 41d7890b1012625ea90f8e5a11277d28 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(10) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_10_.MP4 https://culturality.museum/omeka/files/original/a0897fbf4a66476db1b4097fc37148b7.MP4 42679ae9e61e07939c4d483d3361f233 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(11) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_11_.MP4 https://culturality.museum/omeka/files/original/c1d04d29362bcc13323fc7ffc81fa29a.MP4 512bc730ddc42ffa0b2cf87d1623422d Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(12) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_12_.MP4 https://culturality.museum/omeka/files/original/c7810ccf8d1479340eb8c29cbc66e93c.MP4 af4e0bfc018e21c12c9849ea6237017e Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(13) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_13_.MP4 https://culturality.museum/omeka/files/original/a8da66ba29aaf04db2aa2809d85d633f.MP4 617e8da06f271f4f795ce370198d7a35 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(14) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_14_.MP4 https://culturality.museum/omeka/files/original/2aa0f8ab653dfc9f0a6e598f7a361317.MP4 93bf3125806649819dbf7cc19376f318 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(15) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_15_.MP4 https://culturality.museum/omeka/files/original/e08a4077f846498ee7f84669ab2a9e04.MP4 bf3dc516cbb3297f055d0a22d4606c81 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(16) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_16_.MP4 https://culturality.museum/omeka/files/original/6742b3a50674789d42c311a5ab9a384a.MP4 9ea1471498a4a1136a267aafc285182d Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(17) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_17_.MP4 https://culturality.museum/omeka/files/original/ff515dad57e9542f0dc7fdbaf52aa82e.MP4 17fcad0d46295cf0f1569ff6acf304f6 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(18) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. 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Title A name given to the resource UNIOVI_PR_06(19) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_19_.MP4 https://culturality.museum/omeka/files/original/e4e7a448ace71332b8cd39aa9cb8810f.MP4 128bca2418d825619f59aed7a27c6caf Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UNIOVI_PR_06(20) Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_06_20_.MP4 https://culturality.museum/omeka/files/original/61e69a0c2d60b19ff893a3f86c326806.jpg b1016da2bdbc117aa9210ee4bf4a9f80 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Green, hand thrown mug. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 17/12/25 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Sopata Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 2047 Material Clay Natural Cultural Cultural Function To drink hot liquids from – Tea / coffee etc. Creation Purpose For sale in the retail space at the pottery. Technique Thrown by a potter using a potters wheel (AAS_AR_01). The clay is manipulated by hand as the potter’s wheel turns. After a period of air-drying, the clay is still soft enough to have handles added and stamps imprinted on the base. The handles are made by being ’pulled’ (AAS_CP_001_l1) by hand and molded on the mug base. These are then fired in a gas, or electric kiln. A glazing process takes place (to add colour to the mug) and a second ‘firing’ in the kiln. Material Source Staffordshire. See Artefact AAS_AR_02_l2 Conecept Mugs are one of the most popular items the pottery has produced over the decades. They are functional items that many tourists purchase. The colours created in the glazes that Sue uses depict the colours of the surrounding landscape. Production Quality Currently produced in batches of up to 11 at a time (for throwing and adding handles). Batches of up to 48 can be fired in the kiln. External ID AAS_AR_15 Field Worker Netty Sopata Craft ceramics Tool Potters wheel, Knife, stamp, Kiln and hands. Place The town or city Borve, Isle of Lewis, Scotland Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Mug Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mug Type The nature or genre of the resource Physical Object Description An account of the resource A green, hand-thrown mug, with handle, made by potter Sue Blair (AAS_PR_001) of Borve Pottery. Date A point or period of time associated with an event in the lifecycle of the resource 11/01/25 Creator An entity primarily responsible for making the resource 234 Language A language of the resource English Extent The size or duration of the resource. 13cm x 8cm x 12cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 788 Source A related resource from which the described resource is derived craftedobjects,scotlandobjects,highlandandislands Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 18/12/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Cup Spatial Coverage Spatial characteristics of the resource. current,58.4,-6.44; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/a7aa52255a57e9fa1cfacc3551ccf747.JPG 6533378963e7333cc7c51834a0b61db6 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oich Niseachpost rennovation by Mark Stockl Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-10 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. www.falmadair.org https://culturality.museum/omeka/files/original/308f788a29bed6747a405e2768daf609.JPG 6b64bbf02a47ea01739e994632f09bc1 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oich Niseachpost pre- rennovation by Mark Stockl Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 20/09/24 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. www.falmadair.org Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 2050 Natural Cultural Cultural Function Sailing in open sea water Creation Purpose Originally as a fishing vessel to provide an income and/or food for the owners. The current day use is for leisure sailing and cultural events. Technique By hand, as described in the Conecept Although ‘Oigh Niseach’ was not built by Mark Stockl, he has completed extensive repair work on her, on behalf of ‘Falmadair – North Lewis Maritime Society.’ This chairty now has four, traditional, sea-worthy sgoths, of different sizes. All of these can be used by the community for leisure sailing and are very often used as a central focus for artist residencies and cultural gatherings, linking the traditional story telling maritime tales and gaelic language to contemporary art projects. Production Quality Bespoke artisan production. External ID AAS_AR_16 Field Worker Netty Sopata Craft woodwork Tool Hand saws / hammers / chisels / steamers: Traditional Joinery Tools Place The town or city Stornoway Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wooden Boat Type The nature or genre of the resource Physical Object Description An account of the resource Wooden, dipping lug sailing boat traditionally used for fishing in the sea areas surrounding the Hebrides. Language A language of the resource Scottish Gaelic Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 789 Source A related resource from which the described resource is derived craftedobjects,scotlandobjects,highlandandislands Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 18/12/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Sgoth Spatial Coverage Spatial characteristics of the resource. current,58,-6; Date Modified Date on which the resource was changed. 18/12/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context All of this intricate system—the high mountain livestock culture, the relationship between human beings and their natural environment expressed through culture—ultimately materializes in each and every wheel of cheese. Around the making of Gamoneu cheeses, a whole set of unique elements has taken shape over the decades and across generations: aging in natural caves, traditional architecture of the majadas, the social structures that developed within them, the shaping of the vegas (highland meadows), the coexistence of humans, domestic animals, and wild fauna, and even a distinct culinary tradition. Era também um alimento asociado a festividades importantes da comunidade: “En las bodas […] el postre era queso de Gamonéu […] cuñas de queso de Gamonéu. Field Worker Carmen Pérez Maestro Policy Threats Lack of conservation policy,Threatening regional planning policies Demographic Threats Rural-urban migration Weakened Practice Reduced practice Loss Threats Loss of cultural spaces SDG Zero Hunger,Good Health and Wellbeing,Clean Water and Sanitation,Affordable and Clean Energy,Life On Land External ID LAPONTE_CP_03 Knowledge Raising and grazing (of cows, goats, and sheep), milking, and the production of cheese itself Knowledge Transfer The entire process is a tradition passed down through families. Practitioners Currently, within the DOP (Protected Designation of Origin), there are 4 producers of queso del Puerto and 18 producers of queso del Valle. In the past, the entire family was involved in the process: the men (fathers, grandfathers, children) in the grazing and cheese-making, and the women (grandmothers, mothers, and girls) in the maintenance tasks and, to a lesser extent, in cheese production. Today, it is mainly couples, as young people study outside rural areas. Women have increasingly joined in the cheese-making process as well as its distribution and sale at markets. Regarding the decline in the number of shepherds, the Picos de Europa Shepherd School was created in 2004, reflecting the concerns voiced by shepherds from the Asturian municipalities within the National Park’s sphere of influence. Its core initiative has been an Introductory Course in Alpine Shepherding, designed to encourage a new generation to take up the profession. By showcasing the value of this role, the school seeks to reinvigorate the region, curb the pressing depopulation trend, stimulate the local economy, and help preserve the traditional landscape (Prieto, 2019). The coexistence of extensive livestock farming and large predators is one of the most important social conflicts now affecting this tradition. In this context, we highlight an initiative created by three biologists, Les Mastines, a solidarity project aimed at promoting practical solutions with an effective and positive impact both on livestock farming and on the local wildlife. It focuses on assisting through surveillance and protection of herds that are vulnerable to attacks by large predators. Function Traditional practices, such as livestock farming, which have long been known as short-distance transhumance, involve moving herds and shepherds every year from the valleys to the highlands in search of prized high mountain pastures for the livestock. This process also results in the production of artisanal cheeses, which are the livelihood of the families dedicated to this work. Associated with this tradition and aimed at tourists, there is a festival declared a 'tourist attraction' called 'The Shepherd's Day,' celebrated as a tribute to the shepherds of the Picos de Europa. It brings together people dedicated to this tradition and tourists Origins and change The management of high-altitude pastures in the Asturian mountains has been documented since the late prehistoric period (Polledo, 2024). Although no archaeological evidence specifically documenting the production of cheese (ceramic cheese-making vessels) has been found in this area, as has been documented in other locations since the Neolithic period, it is assumed that cheese was one of the products made by the high mountain shepherds. Since the 17th century, this cheese has served as a basic sustenance 'for the poor of the council,' as expressed in records from the 18th century. The name 'Gamonéu,' which seems to be recent, refers to two homonymous villages: Gamonéu de Cangas and Gamonéu de Onís. The most significant changes in land management, and consequently in the production of dairy products in this area, occurred in the early 20th century with the creation of the 'Picos de Europa National Park,' which intersected with the social history of shepherd-cheesemakers, breaking the integrity of the community management system and the way of life that was inseparable from it. The conservationist ideas of the landscape in the established national parks in Spain, in this case, made the shepherding community vulnerable by assuming official entities took over the management of the land. It is estimated that from the mid-1950s to 2018, the number of shepherds in the region decreased from 100 to 11 (Prieto, 2019). The main factors behind the decline in Gamonéu‑cheese production have been: wolf attacks; the shrinking of grazing land inside the National Park because controlled burning to renew pastures is now forbidden; the drop in goat and sheep numbers; and the lack of generational succession to keep the shepherd‑cheesemaker trade alive. In 2003 the Asturian regional government created the Gamonéu PDO (Protected Designation of Origin) to valorize and safeguard this cheese and to stimulate the area’s production sector—an initiative that has especially benefited the valle Organisations The Association of Artisan Cheesemakers of the Principality of Asturias is a non-profit, regionally based organization founded in 1991. There are eight producers of Gamoneu cheese who are members of this association. The Brotherhood of Friends of Gamoneu Cheese is made up of a group of friends who, without any profit motive, support, promote, and take pleasure in sharing everything related to the world of Gamoneu cheese. Places Gamoneu cheese is produced in two distinct zones: Gamoneu del Puertu, which preserves the ancestral cheesemaking tradition of the Picos de Europa region, and Gamoneu del Valle, which is made in small dairies located in the lower areas of the municipalities of Onís and Cangas de Onís. Gamoneu del Valle cheeses are smaller in size than those from the Puertu, but they are produced year-round. In autumn, the cheeses reach their optimal point of maturity, which is why producers attend fairs held in the capitals of their respective municipalities. Cangas de Onís celebrates the Feria del Pilar on October 12th, featuring the Exhibition and Contest of Picos de Europa Cheeses. In Benia de Onís, the Annual Gamoneu Cheese Festival takes place on the third Sunday of October. Artefacts "Arnios" or molds made of plastic or metal are used, although wooden ones are still in use as well. The "artesa" is a wooden piece designed to collect the whey released by the cheese. The "presugo" is a thin board that allows the cheese to be easily flipped. The "talameras" are shelves placed inside the cabin above the hearth or fire, where the heat and smoke slowly dry the cheeses. Policy Threats Description An overly conservationist policy applied to a territory whose landscape has been shaped by humans since prehistoric times Demographic Threats Description The sons and daughters of the families devoted to this tradition no longer wish to carry it on because of its harshness; they move away to study in the cities Weakened Practice Description The number of high‑mountain (‘puerto’) cheese producers has fallen because the area where they work was declared a national park and because of wolf predation. Loss Threats Description Again, this is largely due to strict environmental conservation policies State of the practice declining Social sustainability It contributes to community development, since this activity provides a livelihood for several families in a rural mountain area Environmental sustainability It contributes to sustainable environmental stewardship thanks to traditional livestock husbandry and the handcrafted cheese‑making process. Economic sustainability It is an economically sustainable activity for the families who practice it. Place The town or city Onís y Cangas de Onís, Asturias, Spain. Place Description Gamoneu cheese is traditionally made by seasonal transhumant shepherds on the maritime slope of the Picos de Europa, a region that currently forms part of the political territory of the autonomous community of the Principality of Asturias, specifically in the municipalities of Onís and Cangas de Onís. It is a high mountain landscape characterized not only by its steepness, but also by its majadas—places where pastures have traditionally been used for cows, goats, and sheep. These meadows or valleys have also been shaped by human activity through stone constructions used for livestock and shepherds during the summer season. This cheese holds great importance for the local community. Its production involves a mixture of three types of milk: goat, cow, and sheep. There are two varieties: Gamoneu del Valle and Gamoneu del Puerto. The different types of milk used in the production of Gamoneu del Puerto come from herds that graze in the vegas or majadas of the northwestern areas of the Picos de Europa National Park. The livestock feeds exclusively by grazing in the highest mountain pastures of these territories. To produce Gamoneu del Puerto cheese, at least two types of milk from the three—cow, sheep, and goat—must be mixed, with a minimum of 10% being sheep and/or goat milk. The production of Gamoneu del Puerto is seasonal due to the weather conditions and the difficulty of grazing in winter, so its production is limited to the spring and summer months. For this reason, the production volume of this variety is lower compared to Gamoneu del Valle. This variety, like Gamoneu del Puerto, is made following the eight essential steps for Gamoneu cheese production: mixing the milk, letting it rest and curdle to form a solid mass, cutting and draining the whey, molding, salting, slow drying and smoking, and finally aging in a cave, where the cheeses mature for a month and acquire their final flavor thanks to the action of fungi and yeasts. Another difference from Gamoneu del Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gamoneu Cheese Type The nature or genre of the resource Intangible Description An account of the resource It is a fatty, matured cheese with a natural rind, which can be made with cow’s, sheep’s, and/or goat’s milk. It is lightly smoked and has slight Penicillium blooms along the edges. Gamoneu becomes a blue-veined cheese after a long aging period in the cave. With a shorter maturation time, it is predominantly white to yellowish in color, with greenish-blue veins of Penicillium spreading from the outside toward the center. The paste is semi-hard and crumbly, with a strong but not overpowering aroma, and smoky notes. Some wheels are quite large, weighing up to eight kilograms, with an intense smoky aroma and a spicy flavor Language A language of the resource Asturian,Spanish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 790 Source A related resource from which the described resource is derived asturiasmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. González-Álvarez, M. (2015). Denominaciones de Origen y Parques Nacionales: actividad quesera en Picos de Europa. Revista de humanidades (25), 57-84. Monesma, E. (2003). La vida de los pastores de los Picos de Europa y el queso de Gamoneu. Oficios Perdidos. Documental. https://www.youtube.com/watch?v=RTFXabGx6Ro Oliveira e Oliveira, T. C. D. (2023). Revalorização de alimentos símbolo de comunidades-território. Os casos do mel virgem de abelhas Pisilnekmej no território maseual (México) e do queijo Gamonéu de pastores de Picos de Europa (Espanha). Prieto, D. (2019). La Escuela de Pastores de Picos de Europa: revitalizando la cultura de pastoreo quesero. PH: Boletín del Instituto Andaluz del Patrimonio Histórico, 27(98), 298-307. Polledo, M. (2024). Evidencias arqueológicas de actividad humana en áreas de alta montaña: los Picos de Europa y su entorno durante la prehistoria. En RUIZ-FERNÁNDEZ, J., LUELMO-LAUTENSCHLAEGER, R., PÉREZ-DÍAZ, S., GARCÍA-HERNÁNDEZ, C., LÓPEZ-SÁEZ, J.A., ALBA-SÁNCHEZ, F., GALLINAR, D., RUIZ-ALONSO, M., GARCÍA, A., GONZÁLEZDÍAZ, B., (Eds.) Socio-ecología, arqueología y geohistoria de los paisajes de montaña ibéricos: una mirada multidisciplinar. Oviedo: CeCodet (Universidad de Oviedo) – Ed. Trabe. págs. 491–507. Valle, F. (2007). Quesos artesanos de la comarca oriente de Asturias. Llanes: Consorcio del Oriente de Asturias. Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 18/12/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Queso Gamoneu Spatial Coverage Spatial characteristics of the resource. current,43.314444,-5.066667; Creator An entity primarily responsible for making the resource 2057,2054 Date Modified Date on which the resource was changed. 19/12/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Artisan An artisan Contact alonsojoseluis14@gmail.com Author iain Email The email address of the museum. alonsojoseluis14@gmail.com Phone The phone number 608093170 Biographical Text He inherited his grandfather’s trade — a historic shepherd in the area — along with his passion for the mountains, livestock herding and cheese-making. He currently owns 200 sheep, 70 goats and 25 cows, practises transhumance, and is responsible for the Uberdón cheese dairy, where Gamonéu de Puerto cheese is produced in the traditional way. He is currently one of the youngest shepherds in the area who still make cheese in the Picos de Europa. He produces his cheese, Gamonéu del Puertu, a product with its own Protected Designation of Origin, using milk from his own cows, sheep and goats. Through an artisanal process, the cheese is finished with maturation inside the mountain of Covadonga. Despite his youth and the short time he has been running the dairy, José Luis has received several awards for the quality of his cheeses, including the “National Gastronomy Award for Young Talent – Alimentos de España” and “Young Farmer 2023”. External ID LAPONTE_PR_05 Knowledge Acquisition He has been drawn to working with animals since childhood. He first learned from his grandfather, but he believes that most of his knowledge comes from daily practice and from learning through mistakes. Knowledge Transfer No, he does not currently teach these skills to others. Field Worker Maria Jose Tudela Castro Gender male Area Relation native Involvment full-time paid job knowledge1 It is essential to know how to care for the animals throughout the year, to have a strong vocation and passion for livestock, and to master milking techniques. material1 He uses cow’s milk and milk from his cattle and sheep, all of which are fed exclusively on natural pasture. He also uses renne material2 The milk comes entirely from his own production. The rennet is purchased, although traditionally it was prepared using the stomach of a young goat. material3 No waste is generated during the production process. production1 He milks the cows in the morning, adds the rennet, and after waiting several hours, cuts or grates the curd. He then places the mixture into the moulds, turns the cheese when required, and finally salts it. production2 He uses moulds that meet current sanitary regulations, which differ from traditional wooden moulds once used in the past. He also uses a jug, a container, the milk vat, a strainer, and other basic tools required for cheese production. production3 He stores in the cabin his grandfather’s descas, to which he has a strong emotional attachment, as well as the traditional curd-stirring stick. Current sanitary regulations prohibit their use in the dairy. production4 He has access to energy in both the cabin and the dairy through solar panels. Water must be carried up throughout the year, as there is no direct water supply at the site. production5 No waste is generated during the production process. The entire workflow is designed so that all materials are fully utilised. workshop He uses several separate spaces: the cabin, where he sleeps; the dairy, where the cheese is produced; the smoking room, located inside the dairy and used for the smoking process; and the cave, where the cheeses mature and ferment. The dairy belongs to the local council, while the other spaces are part of his seasonal activity in the mountain pastures. products1 He produces Gamonéu del Puerto cheese. products2 He produces it both for commercial sale and to keep the traditional craft alive. products3 He sells mainly to tourists and several local bars, including one that initially supported his product and remains his main buyer. He also has regular customers who purchase cheese throughout the year. His production is limited—approximately 1,400 kg annually—so he can hardly take on new clients and works with three fixed buyers. products4 He occasionally shows the cave and his working process to friends or acquaintances, but considers it something exceptional. Although he could receive visitors daily, he cannot interrupt his work to attend to the public on a regular basis. products5 No, he does not provide repair or reutilisation services. products6 His customers consist mainly of tourists and regular buyers who purchase his cheese each season. products7 Yes, his cheese is protected under the Gamonéu del Puerto Designation of Origin (PDO). tourism1 His involvement with tourism is limited to selling cheese to visitors in the area tourism2 "Si más animalista que yo no hay, el animalismo no está solo en el lobo." "Me voy a poner en el rebaño con una escopera, yo también me estoy defendiendo." "El lobo acabó con muchos quesos y con el modo de vida de mucha gente." partnership He collaborates with the Bearded Vulture Association, to which he sells his lambs. This organisation assists him in distributing the product to selected supermarkets and hospitality businesses, while also ensuring that he receives a fair price. To participate, the lambs must meet high quality standards. He does not engage in collaborations with academic institutions nor participate in co-creation projects with other practitioners or public organisations beyond this association. challenges1 His main challenges arise from the presence of wolves, which constitute his greatest concern. He also notes that the pastures are no longer what they once were, due to increasing land abandonment, which has led to dense scrub growth and a decline in the quality of grazing available for livestock challenges2 «Ser pastor y hacer queso, las dos cosas a la vez, como hago yo, es casi imposible» references https://efeagro.com/pastoreo-heroico-picos-europa-lobo/ https://www.youtube.com/watch?v=hYpUL8BXtas https://www.youtube.com/watch?v=sijWZcWw_BY Social Media The social media links. facebook,https://www.facebook.com/Queseriauberdon; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Jose_Luis_Alonso_Zaragoza Prim Media 2056 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jose Luis Alonso Zaragoza Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1995 Language A language of the resource Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 792 Source A related resource from which the described resource is derived artisans Spatial Coverage Spatial characteristics of the resource. current,43.34833333,-5.1275; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Scotland Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Jose Luis Alonso Zaragoza Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://www.dopgamoneu.com/comprar-queso-gamoneu/la-queseria-uberdon/ https://culturality.museum/omeka/files/original/6dcdf0ce2893b30195837f8a7fd736e4.mp4 f4e56decfcb329ef402bb25ec02d511b Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview video Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-04-22 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/LAPONTE_PR_05_1_.mp4 https://culturality.museum/omeka/files/original/f69368342495f3546edc12727d86551f.jpg 11655ff49e9f4e1456c5b096861a48c5 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource UberdonCheese Label Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Jose Luis alonso Artisan An artisan Contact queserialacasavieya@gmail.com Author iain Email The email address of the museum. queserialacasavieya@gmail.com Phone The phone number Spanish phone code: 34 / 608 58 69 92 Biographical Text Beatriz Rodríguez and Francisco Wagner are shepherds, cattle farmers, and producers of Gamonéu del Valle cheese in Parda, Cangas de Onís. The Gamonéu cheese is a traditional blue cheese from Asturias and parts of the Picos de Europa, Its creation dates back to ancient times and forms an important part of Asturian cultural heritage, both tangible and intangible. Beatriz and Francisco are recognized as the first producers of organic/ecological Gamonéu del Valle cheese. Their product has Protected Designation of Origin status and has been certified by COPAE since 2021. The aim of Beatriz and Francisco's cheese small factory, called “Queseria de la Casa Vieya,” is to produce 100% artisanal (using ancestral techniques) and organic cheese using three types of milk: goat's milk, sheep's milk, and cow's milk. To achieve this goal, they maintain a traditional system of small-scale grazing and livestock farming with a few Casina cows, 32 sheep, and 60 “Bermeya” goats. External ID LAPONTE_PR_06 Knowledge Acquisition Beatriz and Francisco learned mainly through self-teaching and constant work and experimentation, which gave them a lot of experience over the years. Neither of them has family members who have been involved in cheese making, so they did not inherit the artesanal job from anyone. However, there was an important formative part that Francisco mentions: "We were lucky enough to attend the shepherding course in the Picos de Europa, which unfortunately no longer exists. We went to the last course and learned all the theoretical part, which is very important to acquire. The methodology of the course was that you went up into the mountains and lived with the shepherds to learn as much as possible. There were two important trainers named Cándido Asprón (a renowned and award-winning cheesemaker from Asturias) and Jesús." However, Francisco mentions that even though you receive a lot of theoretical training, the most important part comes in practice, and in that process they spoiled a lot of cheese, made mistakes, and had some problems. After spending some time with their first cheese productions, they received a visit and mentoring from the famous cheesemaker Cándido Asprón, who reviewed the ways in which they were preparing the cheese and gave them advice on things they needed to fix or change to improve their production. Since then, Beatriz and Francisco have improved and refined their cheese-making techniques until they obtained recognition and certificates for their Designation of Origin product. Knowledge Transfer No Field Worker Carmen Pérez Maestro Area Reason They have been living in Cangas de Onís for more than 10 years. Although they are not from Parda in Cangas de Onís, both are Asturians and have always had a strong connection with the rural area. They decided to start raising livestock and making cheese because they used to own a bar and a gas station. They mention that they were not happy running those businesses due to the issue of “self-exploitation” and that for them, happiness means living in the countryside and dedicating themselves to something meaningful. Occupation other (specify),other (specify) Involvment full-time paid job knowledge1 In addition to the knowledge required to make cheese, it is very important to have knowledge about grazing: the correct ways to take animals to pasture, protect them from predators, keep them safe, and knowledge about the health and nutritional needs of goats, sheep, and cows. Another important area of knowledge is that of the territory: knowing which communal pastures are accessible, climate change (droughts and high temperatures) that affect the availability of food for animals and affect cheese production, since cheese is very vulnerable to high temperatures and excessive humidity. Beatriz and Francisco work with living elements, from the rural territory to their animals and the bacteria found in their cheeses. It is important to know how to manage and identify the needs of these living beings. material1 To produce Gamoneu cheese, cows, goats, and sheep are needed in order to mix three types of milk, and a vital or important material is communal pastures, which are public pastures where their animals can obtain all the food they need. Another important aspect is to have access to the high caves to storage the cheese. material2 N/A material3 N/A production1 Cheeses are made using three types of milk: cow’s, sheep’s and goat’s milk. To achieve the best quality, Beatriz and Francisco make sure that most of the milk used in their cheeses comes from sheep and goats, as these provide a great deal of flavour and complexity, which makes the product stand out from the rest. Nowadays, Gamoneu cheese is produced mainly with cow’s milk, which does not have the same flavour or the same quality. The animals live freely and are milked by hand. The milk is then processed, curdled and drained to obtain the cheese. This is followed by the cheese “curing” process: the cheeses are smoked for 12 to 15 days at Beatriz and Francisco’s home and then taken up to the mountains, where they are stored in a cave at an altitude of 1,300 metres to continue the maturation process. The minimum maturation time is one and a half months, although some cheeses are matured for much longer production2 Main tools: milk cooling tank (to keep the milk at exactly 5 degrees Celsius), a basin for mixing the milk, some simple tools such as a ladle for stirring the milk, natural rennet, a blanket for draining the cheese, a knife for cutting the cheese, and a thermometer for monitoring the temperature. Tools needed after the cheese has been prepared: a very small stove for smoking the cheese and wooden structures for placing the cheese in the smoking chamber. production3 No special relationship with the tools is mentioned production4 Energy from the cooling tank and wood for the cheese smoker. This is not excessive energy use, as they produce cheese in small quantities; it is not industrial production. production5 No waste is generated during the process workshop Yes, the cheese dairy is a two-storey building located near the artisans’ home. On the ground floor, the raw materials are processed to make the cheeses, and the finished products are stored there. On the upper floor, the drying and smoking processes take place. products1 Gamonéu cheese: this is a traditional blue cheese from Asturias and the Picos de Europa mountains. Unlike other blue cheeses from Asturias (such as Cabrales cheese), Gamonéu cheese is smoked and has a rind that prevents the blue mold from penetrating too deeply, giving it a harder texture that crumbles easily. The key to producing good Gamonéu cheese is to use a higher percentage of sheep and goat milk (local breeds adapted to the landscape whose milk is richer in fat) and a lower percentage of cow milk. products2 Beatriz and Francisco have a huge passion for everything that goes into making Gamonéu cheese: traditional livestock farming and grazing systems, living in a rural area surrounded by nature, continuing ancestral legacies, protecting Asturian cultural heritage through a 100% artisanal cheese, and helping to keep an important part of Asturian identity alive. products3 For Beatriz and Francisco, it is very important that their cheese reaches people who will appreciate it and who will not try to lower the price, as its production is an arduous process that involves a lot of work to achieve the highest quality standards. That is why Beatriz personally distributes her cheese to people in the local community, to a restaurant in Cangas de Onís that she trusts, and she has a WhatsApp profile where people she knows can personally order cheese from her. She also attends specific craft markets: those that sell authentic artesanal products. products4 Cheese sales only products5 N/A products6 The local community from Cangas de Oníse/ Pople from Asturias who knows the value of their cheese / People from the rest of Spain and few tourists who are "fans" of cheese. products7 Yes, their Gamoneu cheese has the COPAE certificate. This certification means that their product is artesanal, ecological and localy produce under high quality standards. tourism1 No. Currently, they prioritize the local community to have access to their handmade products. Francisco mentioned that he does not like tourism, and Beatriz said that the most they have done is attend some craft markets. However, both maintain a critical perspective on these markets, since not all vendors sell authentic artisanal products... but rather poor-quality or industrial-quality products that are passed off as traditional regional products. Beatriz mentions that they cannot offer their cheese in these spaces because it detracts from the value that its ecological and artisanal production truly represents. Francisco acknowledges that tourism increases sales of their cheese, but they prefer that local people or people who truly appreciate cheese and its history be their main consumers. Beatriz adds that they produce very little cheese and cannot sell it to hotels, supermarkets, or other high-demand tourist spots because they would not be able to meet that demand. In any case, they are not interested in expanding their project through tourism, increasing production, and meeting demand because they would lose their artisanal production process and their ecological seal. In addition, Beatriz mentions an important point: "I am the one who visits specific places such as a local restaurant, or goes directly to the neighbors, or shows up at authentic artisan markets to sell the cheese, because not everyone will take care of the cheese like we do. For example, supermarkets would store the cheese in a standard refrigerator with the wrong temperature, the wrong humidity level, etc., and my cheese would be ruined! Not everyone is going to take good care of a product that you have put so much effort and work into, which is why we prefer to distribute the cheese ourselves. tourism2 Francisco: "A mí eso del turismo no me gusta nada. Sí, es verdad que con el turismo se vende más queso, pero nosotros no estamos interesados en vender en masa porque no todo el mundo lo aprecia. Preferimos venderlo a locales o gente que sepa apreciarlo." ......................... Beatriz: Nosotros producimos pequeñas cantidades de queso, somos muy cuidadosos con la difusión o publicidad que le damos a nuestro producto porque no podríamos satisfacer una alta demanda. Y de todos modos, no es lo que queremos, porque queremos seguir produciendo de forma artesanal, ecológica y para eso es necesario hacerlo en pequeña escala" partnership They do belong to some associations (the Bermeya goat association for cheese production, the COPAE association that certifies the product, the mountain management association, etc.), but they do not collaborate directly with anyone. Nor do they make cheese together with anyone else. Their cheese factory is their own individual project. challenges1 Challenge 1) Finding public land (known as “communal pastures”) that meets ecological certification requirements so that animals can graze at different times of the year. There are very complicated bureaucratic processes and environmental protection laws that restrict farmers and shepherds from using the land. This poor administrative management and lack of policies are preventing Gamoneu cheese from being reduced to production in the valley and not in Puerto, which are high mountain areas where animals can also graze and Gamoneu cheese from Puerto can be produced. Challenge 2) In this other high mountain area Puerto, there are no cheese factories where Francisco and Beatriz can work and make their own cheese. According to Francisco, there are only two cheese factories in the Principality of Asturias, and they are managed by the same people who have always managed them. In these areas, there are abandoned spaces and huts that could be used to live in and keep animals, but there are no cheese factories. challenges2 Beatriz: "Nosotros queremos trashumar y llevar a los animales a Puerto para hacer queso allá, pero también es muy difícil encontraler pastos comunales, porque le quitan al pastor y al ganadero el derecho de llevar a sus animales a pastar. Además ahora hay mucha zona protegida que empeora las políticas de acceso." .................Francisco: "El problema es, que queremos hacer queso no solo en El Valle, pero también en Puerto, pero no hay queserías. Algunos pondrán la excusa de que es por el frío o el clima duro que no se puede acceder a Puerto, pero no, es por falta de queserías. Solamente hay dos queserias y son del principado de Asturias." Social Media The social media links. facebook,https://www.facebook.com/lacasavieyaquesugamoneu/?locale=es_ES; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Beatriz_Rodríguez_and_Francisco_Wagner Prim Media 2058 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Beatriz Rodríguez and Francisco Wagner Type The nature or genre of the resource Artisan Description An account of the resource Beatriz Rodríguez and Francisco Wagner are shepherds, cattle farmers, and producers of Gamonéu del Valle cheese in Parda, Cangas de Onís. The Gamonéu cheese is a traditional blue cheese from Asturias and parts of the Picos de Europa, Its creation dates back to ancient times and forms an important part of Asturian cultural heritage, both tangible and intangible. Beatriz and Francisco are recognized as the first producers of organic/ecological Gamonéu del Valle cheese. Their product has Protected Designation of Origin status and has been certified by COPAE since 2021. The aim of Beatriz and Francisco's cheese small factory, called “Queseria de la Casa Vieya,” is to produce 100% artisanal (using ancestral techniques) and organic cheese using three types of milk: goat's milk, sheep's milk, and cow's milk. To achieve this goal, they maintain a traditional system of small-scale grazing and livestock farming with a few Casina cows, 32 sheep, and 60 “Bermeya” goats. Language A language of the resource Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 793 Source A related resource from which the described resource is derived artisans,asturiasmap Spatial Coverage Spatial characteristics of the resource. current,43.35107,-5.12749781; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Scotland Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Beatriz Rodríguez and Francisco Wagner https://culturality.museum/omeka/files/original/7d7932f03c899889397e1d0ce3e06efe.jpg 2e946cee1394031b2bbce8aca7dedff3 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The practitioners entrevistados Beatriz Rodríguez, Francisco Wagner y un colaborador del proyecto Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-08-14 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/a6c767e7cf0b9dc735c727ccc5e6ac55.jpg b238494b30e79f499a0a2ea3ac9bd738 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exterior de la queseria Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-08-14 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/f0fcad57deb30b9bffcfdd3819c41724.jpg 4c8ff70bd3a738f89baf88ac93786732 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exterior de la queseria Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-08-14 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/1aa97d3cf70caa4ca9ae38d281278340.jpg 778e9ecc49f39d34e1242a5371d20cd4 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interior de la quesería Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-08-14 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/7d2c1046e8b1fa63d457fc110141bde2.jpg c67648f3c9dfc52d2408cbc6c393b9e3 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interior de la quesería Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-08-14 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/311754b97e3a5ed5d233c2fc988fef25.jpg 7c62f83bf72026a9cabc5185c843a01e Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interior de la quesería Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-08-14 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/ba57ceedccad6acbde2b09a26ee168e9.jpg b10168014374df3c27833bcea718c498 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interior de la quesería Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-08-14 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/491d0ea99d03ff4c71f844cb1f8d5a52.jpg 6d7e2b0d6c9f2892e62981fed8505426 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interior de la quesería Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-08-14 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/d0c54952740b6c6df562ad1c0fffb00a.jpg 9d21efb77aea1e79cb896d724033579f Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interior de la quesería Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-08-14 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/ab28d1cf5aad1c48bdecacefd79ab9d8.jpg 383ea39c9709a1203622fb4cf1da08f2 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Imagen de Alba a la entrada del museo de la apicultura Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-06-19 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Artisan An artisan Contact aturrutaredes@gmail.com Author iain Email The email address of the museum. aturrutaredes@gmail.com Phone The phone number Spanish phone code: 34 / 644 27 28 56 Prim Media 2067 Biographical Text Alba was born in Madrid but moved to Asturias in 2014, and currently lives in the village of Veneros in the municipality of Caso. Since 2016, she has been a beekeeper, mountain guide, and works as a manager of the beekeeping and wood museums in Caso. Alba has her own company called ‘Aturruta’ where she gives interpretive tours of the Redes Natural Park to raise awareness of the cultural and historical values of the area. She also organises guided tours of the beekeeping museum and the wood museum in Caso. Beekeeping workshops are currently offered to visitors so that they can learn about the environmental value of bees' work and the value of honey as a traditional craft. External ID LAPONTE_PR_13 Knowledge Acquisition In 2018, Alba began her apprenticeship and it was her partner who taught her all the basic techniques. She started out as her partner's assistant, where she gradually learned about the different processes. Unfortunately, in that same year, 2018, her partner had an accident in the mountains and passed away. From that moment on, Alba took charge of the hives and continued her apprenticeship on her own, reading books, searching for information on the internet, watching videos/tutorials, etc. Alba mentions that her partner's family has been very supportive and that without their help the project would not have gone ahead. Knowledge Transfer She currently offers basic workshops with educational themes for tourists and external visitors, but she does not have any formal apprentices seeking to continue her legacy. Field Worker Sofía Gonzalez Sandoval Gender female Area Relation incomer Area Reason Alba was born in Madrid but moved to Asturias in 2014, and currently lives in the village of Veneros in the municipality of Caso. Since 2016, she has been a beekeeper, mountain guide, and works in the beekeeping and wood museums in Caso. Alba mentions that she found a better quality of life in a rural area than in a big city like Madrid, as the village is like her family, there is solidarity and support, and in nature she finds more freedom and opportunities to do meaningful activities. Occupation other (specify),other (specify) Involvment full-time paid job knowledge1 In Alba's case, she is not only a beekeeper, she is also a mountain guide. Therefore, it is very important to have a deep knowledge of the territory, its history, its resources, the changes it has undergone over time, and the aspects that make this area unique and important in terms of its conservation. In addition, she has knowledge of heritage interpretation, enabling her to conduct tours of the museums in the municipality of Caso. When it comes to beekeeping, it is important to learn not only about bees as a species, but also about their needs in the territory, the climatic threats (or invasive species) they face, etc. material1 Local bees from the region. material2 N/A material3 Bees do not generate waste. Everything is used for their own consumption: honey and wax. production1 To produce honey, Alba continues to use traditional techniques, carrying out the processes by hand. For example, they use wooden hives, which are simple wooden boxes with various compartments, hand tools (such as knives for scraping wax) and manual cranks to process honey (instead of electric centrifuges). She mentions that although much time has passed and technology is now available, many beekeepers continue to use traditional techniques. production2 1) Wooden beehives – boxes with various compartments inside, which are stacked on top of each other. 2) Knives and scrapers for scraping honey and wax. 3) Beekeeper's suit for protection. 4) Traditional smoker. 5) Their hands to carefully handle the hives. production3 For Alba, her tools are very special because they are all inherited. For example, some tools come from neighbours who used to be beekeepers but can no longer do so due to their advanced age, or tools that were given to her by friends. Because of this, whenever a tool breaks, she tries to repair it (with glue, tape, etc.) so as not to throw anything away, because she is fond of all her tools. She mentions that it is important to take care of what has been inherited because it has a special value and history. production4 In beekeeping, Alba does not use any type of energy, as everything is done by hand and she does not have industrial machinery or any other type of modern technology. production5 N/A workshop Yes, their workplace is the museums mentioned above and the Redes Natural Park. As for the beekeeping workshops, part of the workshops consist of visiting the apiaries located in the mountains in Caso. It is a high-altitude place with lots of nature and local scenery. products1 100% natural honey. products2 Alba does not sell the honey she produces, as she has very few apiaries. The honey is produced for two reasons: 1) for ecological/environmental reasons, as bees are pollinators that are essential for the balance of ecosystems, and the Beekeeping Museum aims to preserve traditional beekeeping as a traditional craft, as well as protecting bee populations. 2) for educational reasons, to raise awareness of the importance of protecting bees, the value of honey as a symbol of Asturian traditions, as a nutritious product and as a historical craft. products3 N/A products4 Yes, at the Caso Beekeeping Museum, workshops are given to visitors explaining all the basic principles of beekeeping: types of bees in the region, the bee cycle and their different roles in the hive, how an apiary works, how honey is obtained, the different types of tools used, etc. After the theoretical explanation inside the museum, the group goes to the apiaries (up in the mountain) so they can put their knowledge into practice. products5 N/A products6 Most of the customers who take part in the beekeeping workshops and museum visits are local people from Asturias and foreigners. During the summer, Alba receives many visits from foreigners who are in the area and looking for a variety of activities. Alba mentions that it is difficult to get local participation from the municipality of Caso. products7 N/A tourism1 Yes, she is a mountain guide and is responsible for managing visits to the Redes de Caso Natural Park. She also manages the Beekeeping Museum and the Wood Museum in the same municipality. Her main activities are guided tours of the museums and beekeeping workshops with visitors, so that they can learn the basic principles of honey production using traditional techniques. tourism2 1) "Los visitantes llegan aquí, hasta Caso, gracias a las redes sociales. Es increíble lo mucho que se mueve la gente en las redes sociales! yo publico algún evento y la gente lo ve de inmediato y participan. También estamos en la página web del ayuntamiento de Caso y eso ayuda mucho". 2) "Queremos que lleguen turistas que estén interesados en lo que estamos contanto, que se interesen por lo que vivimos y por nuestro territorio. No queremos este turismo masivo y esta persona insensible que tú le estás mostrando algo (como una planta local en peligro de extinción) y que ni presten atención." partnership Yes, she is part of the ‘Caso Beekeepers Association’ and a network called ‘Redes Natural’ (Natural Networks), which is a network of local entrepreneurs (people from the community) who support each other to promote economic activity in Caso, support entrepreneurship, etc. challenges1 One of the main challenges is the distance and being located in a little-known rural area. According to Alba, the municipality of Caso is not very far away, and access is not difficult; it is a common road that is easy to reach. However, for tourists, it is not attractive to go to rural areas that are not so well known, as they want quick activities, things that are along the way, places close to more urban areas challenges2 "Las personas creen que un sitio está muy lejos solo porque no lo conocen, creen que el acceso a estas zonas es difícil o peligroso solo por el simple hecho de no estar familiarizados con el territorio, es falta de educación y eso es un reto para el turismo". references https://www.youtube.com/watch?v=GwoSCRVCGc0 https://www.turismoasturias.es/descubre/cultura/museos-y-espacios-culturales/espacios-culturales/aula-de-la-apicultura Social Media The social media links. facebook,https://www.facebook.com/aturruta;instagram,https://www.instagram.com/aturrutaredes/?igshid=qhuu2e6ce8rg; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Alba_López_Garrido Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Alba López Garrido Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1991 Language A language of the resource Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 794 Source A related resource from which the described resource is derived artisans,asturiasmap Spatial Coverage Spatial characteristics of the resource. current,43.360259,-5.844758; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Scotland Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Alba López Garrido Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://aturruta.com/ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context With the Asturianada, Tonada, or Asturian Song, which is a traditional song of popular type, the bagpipe serves as accompaniment. The performance begins with a floréu, or melodic introduction, played by the musician. The bagpipe also accompanies traditional Asturian dances and forms a fundamental part of the Bagpipe Mass. Field Worker Carmen Pérez Maestro Weakened Practice Aged practitioners,Reduced practice External ID LAPONTE_CP_06 Knowledge The bagpipe craftsman (Facedor de gaites) must be familiar with the types of wood available in the forest in order to choose the most suitable for making the instrument. They should know how to work and turn the wood, as well as the process of tanning hides (although today most bellows are made from synthetic materials or fabrics, as are the decorative coverings of the bagpipe). They must also have knowledge of music, which allows the maker to understand scales, tones, and how to tune each pipe of the instrument so that it sounds harmonious. "To successfully practise the craft of bagpipe making, appropriate machinery and tools are required, along with manual skills, knowledge of materials, a good eye for proportions, and the trained ear of an experienced musician" (Web Taller de Gaitas Alberto Fernández). Knowledge Transfer In Asturias today, the transmission of the craft of bagpipe making, that is, the artisanal construction of the Asturian bagpipe, occurs through a combination of channels: family-run workshops and the training of new luthiers, who learn either independently or under guidance. The organisation Conceyu de la Gaita plays a significant role in promoting the craft; its website serves as a reference point and provides visibility for those wishing to get started. There are also courses, workshops, and educational activities; for example, some artisans run practical sessions on basic maintenance, the adjustment and construction of bagpipe components, including woodturning, timber selection, reed adjustment, and tuning. Practitioners The craft of making bagpipes in Asturias is traditional and remains predominantly male, although the “vistíu” (decorative covering of the airbag) and the “pezolera” (textile ornamentation on the drone) are created by women. Public information about the women who specifically make the decorations and bellows of Asturian bagpipes is not readily available. However, the Conceyu de la Gaita website provides a list of bagpipe makers: Alberto Fernández, Vicente Prado “El Pravianu”, Chus Solís, Gaitas Linde, Simón San José, Oliver Gaitas, David López, and Obradoiro de Gaitas Seivane. Function The making of bagpipes in Asturias is important for several cultural, economic, and social reasons. Asturian bagpipes are a traditional symbol of the region, present in festivals, popular celebrations, and both folk and contemporary music. Having bagpipes made in Asturias strengthens the connection between music, tradition, and local identity. Bagpipes crafted in Asturias adhere to traditional standards of sound and construction. This ensures that musicians can accurately perform Asturian folk music. This activity not only preserves traditional techniques but also inspires innovation within the craft, combining artisanal skills with creativity in design and ornamentation. Origins and change Thanks to the Bagpipe Museum located in the city of Gijón, musicians, craftsmen, and researchers can access documentation, historical instruments, and gain detailed insight into how the construction of bagpipes has evolved. There is extensive documentation on bagpipers, that is, those who play the bagpipe, but far less on the makers and the manufacturing process of the instrument. According to documentation from the 1920s (Fernández, 2008a), Asturian craftsmen worked with woods such as boxwood, which grows very slowly and was scarce, using rudimentary tools that limited their rate of production. The lathe consisted of a system of rope, pedal, and flexible pole that allowed the piece of wood to rotate, making the application of tools more difficult. These tools were homemade and included gouges, chisels, and augers, while the interior of the chanter was hollowed out using reamers made by the craftsmen themselves. Finishing was done with coarse cloth, beeswax, or occasionally shellac. The most highly valued skins were kid skins, and the making of the bagpipe covers was usually carried out by the craftsmen’s wives, who even handcrafted the fringes knot by knot. Innovation and changes in contemporary manufacturing have come with the use of new types of wood, the inclusion of methacrylate components and other plastics and fully mechanised turning tools, although some finishing work is still carried out by hand. Decorative elements have also changed, such as the tassels (farrapos) and the bag cover, which are used to personalise the instruments. Asturian craftsmen, drawing on their experience with historical bagpipes, developed a model suited to the needs of younger players, featuring tempered tuning and chromatic fingering. In 1991, a second method was published, still in use today, which introduced an alternative position for the seventh degree of the scale and an empirically developed chromatic chart. Influenced by interceltic festivals, emphasis was placed on the B♭ d Organisations Asociación Cultural Conceyu de la Gaita: It is a non-profit cultural association founded in Asturias, with the mission of revitalising and keeping the world of the Asturian bagpipe alive from a transversal perspective. It serves as a meeting point for professionals, enthusiasts, researchers, and instrument makers, all united by the same passion: the Asturian bagpipe and its cultural heritage. Places here are no collective spaces for the manufacture of bagpipes, nor are there any buildings specifically devoted to their production that have been granted cultural heritage status Artefacts Woodworking Tools: Mechanical or electric lathe,Electric drill, Milling machine, Band saw / circular saw,Electric sander,Gouges, Chisels, Augers, Reamers, Calipers and micrometers.Tuning and Acoustic Tools. A reamer (escariador) is a tool used to widen, shape, or smooth the interior of a hole or tube. In the context of bagpipe making, the reamer is primarily used to hollow out and give the correct taper to the interior of the chanter or pipe, ensuring that the bore is uniform and that the airflow is correct for proper tuning and sound quality. State of the practice stable Social sustainability Not applicable Environmental sustainability Not applicable Economic sustainability Not applicable Place The town or city The whole of Asturias Place Description The history of bagpipe making in Asturias is linked to its origins as a popular instrument in the Middle Ages, with the earliest depictions dating back to the 13th century. The artisanal tradition, based on ancestral techniques, has remained alive over the centuries, although with the introduction of mechanical improvements and the emergence of modern innovations such as the electronic bagpipe.The Gaita Asturiana is not only a musical instrument; it is a complete cultural practice, as it has the following characteristics: it is closely linked to the identity of the Asturian people; it is used at festivals, pilgrimages, weddings and traditional events; it involves traditional knowledge, such as playing it, making it and teaching its use; and it is passed down through oral teaching and traditional music schools. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Asturian Bagpipe Manufacturing Type The nature or genre of the resource Intangible Description An account of the resource The Asturian bagpipe belongs to the group of aerophones with a flexible air reservoir and, in its most common form, consists of a mouth-blown blowpipe, a bass drone with a single reed, and a conical chanter with a double reed. The earliest surviving examples in Asturias date from the mid-19th century, although iconographic sources and written records suggest that the instrument may have been introduced as early as the Middle Ages (Fernández, 2008). Language A language of the resource Asturian Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 795 Source A related resource from which the described resource is derived asturiasmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Fernández, Juan Alfonso (2008a): La gaita y el oficio de gaitero en Asturias. Etno-Folk: revista galega de etnomusicoloxía 11, p. 59-82. Fernández, Juan Alfonso (2008b) La gaita asturiana: características y evolución. Etno-Folk: revista galega de etnomusicoloxía, 2008, no 11, p. 171-197. López , Fernándo (2021). Los nuevos contextos sonoros de la gaita asturiana, 1980-2020 (Bachelor's thesis). Universidad de Oviedo. Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 19/12/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Fabricación de gaita asturiana Date Modified Date on which the resource was changed. 19/12/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context With mountain cattle farming and the so-called fiestas de prao—traditional outdoor celebrations in northern Spain, especially in Asturias—people gather to eat and drink together, enjoy dancing, and listen to traditional music. These events often form part of the patron saint festivals of towns or parishes. Field Worker Carmen Pérez Maestro Economic Threats Insufficient financial resources Weakened Practice Reduced practice SDG Zero Hunger,Good Health and Wellbeing,Responsible Consumption and Production,Partnerships for the Goals External ID LAPONTE_CP_07 Knowledge Knowledge of the type of milk and rennet used, the kneading of the product, and the maturation processes is essential. The curd is passed through the “rabilar machine” several times, with salt being added during some of the passes. The mass (known as gorollos) is then shaped by hand into a truncated pyramid and stored in an airing chamber for a period ranging from five days to two weeks, at a temperature of 14–20 °C. The gorollos may be kneaded in the machine as many times as necessary to achieve the texture desired by each producer. The greater the number of passes, the finer and more homogeneous the cheese will be; it will mature better and develop a stronger flavour. Finally, it is shaped by hand into a cylindrical–disc form or a round wheel and the upper face is marked with a punch or stamp bearing the producer’s emblem. It is then kept for at least one day in the airing room. The marcu casín (the stamp applied to the cheese) goes beyond the simple identification of an individual cheese, as it also seeks visual appeal: its impressions are placed on the most visible face of the cheese, covering it completely. Knowledge Transfer The tradition was passed down within families, essentially from mothers to daughters. Today, there is no generational transmission, and it is produced by only two dairies. Practitioners Quesería Redes was founded in 1989 by Marigel Álvarez, and in 2018 it was inherited by her daughter, Natalia Lobeto Álvarez. The complex includes the dairy, a hotel, and a shop selling cheeses and other local products. Quesería Ca Llechi was opened in 2012 and is run by Alberto Valiente. Function The human connection is intrinsic to the essence of this product, particularly when discussing its unique method of production. Today, cheese production remains purely artisanal and highly labour-intensive, resulting in limited output that once threatened its survival. Its preservation has relied largely on the efforts of the women who produce it for family consumption and the dedication of a cheesemaker who, for a long period, was the only person to showcase and sell the product at fairs and traditional markets throughout Asturias and across Spain. The support of local rural development groups has also been important. Origins and change Canut (2000) maintains that “Casín cheese, due to its method of production and the rustic tools used, may be one of the oldest in Spain and forms part of the group of cheeses made in the Cantabrian Mountains that trace their origins directly back to the Neolithic and the first settlers who arrived in the backbone of the Peninsula.” Written records of cheese production in the area date back to the 14th century. In the leases of the mansos of San Salvador de Sobrecastiello and San Juan del Campo, managed by the Convent of Nuestra Señora de la Vega in Oviedo, Casín cheese is mentioned for the first time: in 1328, during the abbacy of Dª. Gontrodo, the mansos of San Salvador de Sobrecastiello were leased for six years at a price of 70 maravedís, payable on 1st September, along with “ten roasted cheeses” (dolze quesos assaderos) to be paid on each Saint Martin’s Day in November. Further references to this cheese appear in the writings of Jovellanos (18th century), in Madoz’s Diccionario Geográfico published in the early 19th century, and in Dionisio Martín Ayuso’s Curso de Agricultura Elemental, published at the end of the 19th century. Mentions of Casín cheese continued in various 20th-century publications. In the 1980s, at the First Casín Cheese Fair organised by the Ayuntamiento de Caso, 42 female artisans participated; today, in 2025, only two remain. Regarding the process, Casín was originally made exclusively with milk from the casina cow (Asturian Mountain breed). The milk from these dual-purpose cows has an excellent fat content, imparting unique characteristics to the cheese. Today, while the casina cow is still used, milk may also come from higher-yielding breeds such as the Friesian. Indeed, the casina is considered an endangered native breed. What has changed are the materials used in cheesemaking, such as the rabilar machine, which was formerly wooden with rollers operated by a manual crank. Today, it is an electric steel machine, as are the stamps and marks Organisations El Certamen del Queso Casín es un evento anual que trabaja por mantener viva la tradición ancestral de este milenario queso. Tiene lugar el último sábado de agosto en Campo de Caso. Sin embargo al quedar unicamente dos queserías este va a ser dificl de mantener. Antiguamente este certamen se celebraba al aire libre y llegaban a participar hasta 30 elaboradoras de queso. Places See in the Practitioners section. Artefacts The rabilar table or machine originated as an adaptation of a tool used in traditional baking. It is a device consisting of two rollers rotating in opposite directions, designed to break up, crumble, or shred the pressed curd. There are two types of stamps used to imprint the cheese. The first, applied to the semi-processed curd or gorollo, was called an ochavau: a cylindrical or spindle-shaped wooden piece, decorated at the ends with simple symbols, which was pressed onto the gorollo as many times as it had been kneaded. For the finished cheese, the marcu or cuñu is used—also made of wood but larger and more complex, with a variety of imprints—serving both decorative purposes and to identify the production. Today, these stamps are made of stainless steel. Economic Threats Description The procedures with the public administration are very tedious, and the purchase of steel equipment for its production is costly, which prevents new initiatives from emerging. Weakened Practice Description The practice has declined to the point that there are now only two producers of this cheese. They are young, but generational succession will be needed. Health regulations and the costs associated with adapting the dairies have partly contributed to the decline in production of this cheese. Safeguarding activities For several decades, the Casín Cheese Festival has been held annually. The event revolves around two main pillars: the market, featuring stalls from Casín cheese producers, and the cheese competition for dairies registered under the Casín PDO. In parallel, various complementary activities take place, such as cooking contests, tastings, workshops, exhibitions, performances by folk groups, a charity marathon, and special menus. State of the practice declining Social sustainability Not applicable Environmental sustainability Yes, because it uses local raw materials for its production. Economic sustainability Yes, because it is an artisanal process, minimally mechanised. Place The town or city Queseria Redes, Campo de Caso 43°10'53"N 5°20'26"W- Queseria Ca Llechi, Pintueles, Piloña 43°22'27"N 5°21'31"W Place Description A full-fat, matured cheese made from whole, raw cow’s milk, using enzymatic coagulation and a kneaded curd, with a semi-hard to hard texture. It has an irregular cylindrical–disc shape, with one face embossed with floral or geometric motifs, symbols, or the name of the person who makes it. It measures up to 20 cm in diameter and up to 7 cm in height. It has a strong, slightly piquant flavour. Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Casin_Cheese Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Casin Cheese Type The nature or genre of the resource Intangible Description An account of the resource Casín, which is produced by only two small dairies in Asturias, is one of the cheeses with the oldest written references in the world, one of the most intense in flavour, protected by a Designation of Origin since 2011, and unique in its method of production. Casín takes its name from its place of origin: the municipality of Caso, which also gives its demonym to the Asturian Mountain cattle breed, or “casina” cow, which yields little milk but of exceptional flavour thanks to the excellent pastures on which it feeds. Documentary references to Casín date back to the 14th century, when it was known as queso assadero. The cheesemaking technique used for Casín cheese arose from the need to achieve a safe and long-lasting method of preservation in an area where mild temperatures and the predominance of rainy, overcast days create high ambient humidity, which hinders the drying of the curds produced by milk coagulation. Thus, kneading emerged as the customary method of combining several small-format curds into a single piece. Repeating this process resulted in drier, more compact pastes, producing a longer-lasting product without the need for pressing. To facilitate kneading, the ‘rabilar machine’ was developed (see description below). Language A language of the resource Asturian,Spanish Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 796 Source A related resource from which the described resource is derived asturiasmap References A related resource that is referenced, cited, or otherwise pointed to by the described resource. D.O.P (n/d). El queso Casin. http://www.dopquesocasin.es/ D.O.P (2008). PLIEGO DE CONDICIONES DE LA DENOMINACIÓN DE ORIGEN PROTEGIDA (DOP) “QUESO CASÍN” Marcet, I., Rendueles, M., & Díaz, M. (2023). De la que tábemos faciendo un quesu…. Ciencies. Cartafueyos Asturianos de Ciencia y Teunoloxía, 13. pp 81-93 SOCIEDAD ASTURIANA DE ESTUDIOS ECONÓMICOS E INDUSTRIALES (1985). Los quesos artesanales asturianos. Oviedo: Gráficas Summa. Videos: Canal Prestosu | Secretos de Asturias: queso Casín https://www.youtube.com/watch?v=eISrTnGZ2wU; Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 19/12/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Queso casín, Quesu Casín Spatial Coverage Spatial characteristics of the resource. current,43.18138889,-5.34055556;origin,43.37416667,-5.35861111; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Artisan An artisan Contact nettysopata@gmail.com Author iain Email The email address of the museum. nettysopata@gmail.com Phone The phone number 07881 273 966 Biographical Text Netty moved to the Isle of Lewis in 2006 to take up a Kiltmaking Apprenticeship. After two years she started her own business and explored using locally woven Harris Tweed in her designs. This led to a number of commissions and displays including at Norton and Son’s, Saville Row and through this contemporary kilt production for fashion designer Christopher Kane. After fifteen years of working o na self-employed basis Netty strated to teach Fashion Design at the local height education college on a part-time basis. Since then she has continued her kiltmaking and garment design business but on a reduced scale, whilst also fulfilling the role as a board member with Applied Arts Scotland, project managing national and international craft focused projects and recently, becoming editor of community newsaper – Fios. An area Netty has developed over the past twenty years is usung the wool form her families flock of Hebridean Sheep to be washed, cardded and spun in to weaving yarn at Uist Wool. This yarn has then been woven in Harris Tweed by a local weaver . External ID AAS_PR_06 Knowledge Acquisition Served a traditonal apprenticeship and then adapted the skills to develop Harris Tweed kilts. Harris Tweed is heavier then the tradiitonal tartan cloth used to make kilts. Knowledge Transfer Yes through evening classes at the lcoal arts centre. Field Worker Netty Sopata Gender female Area Relation incomer Area Reason Moved in 2006 to commence a Kiltmaking Apprenticeship in Stornoway Occupation fibre and textile crafts knowledge1 Tradtional hand tailoring techniques applied to kilt making: Measurement, pleat calculations and chalking out, hand sewing and steam pressing. material1 Harris Tweed. Leather (for straps) and brass / other metals for buckles. material2 Local Harris Tweed mills. material3 Donates them to local higher education college production1 Calking out (to mark the pleats and kilt pattern); Hand sewing (using a thimble); Steam pressing (to set the pleats) production2 Thimble, measuring tape (inches), pattern master (straight edge ruleer to mark out the pleats). Steam Iron and pressing table. Needle and scissors. production3 Tape and thimble belonged to her grandmother who was a hoe based seamstress in London. production4 Electricity for lighting and steam press. Peat for heating stove in studio. production5 Cut-away' segemnts of cloth are donated to the local college fro students to use in mood boards etc. workshop Yes. The upstairs area of her domestic house is a dedicated studio space. products1 Handtailored Kilts and contemproray garments products2 For people to wear products3 The kiltmaking service is no longer advertised and commissions are completed on a word of mouth basis only. products4 Bespoke one to one orders. products5 For kilts only yes products6 Locally based cliets fro repairs and alterations. Visitors to the Hebrides who have a connection to the location and/or want to have something created fro them that resonates with the location. products7 Harris Tweed label tourism1 Netty used to display work and take orders at the local music festival: HebCelt. This four day festival attracts the perfect target market for bepoke kilts. The tourists at this event are from a range of national and international locations. tourism2 An interview was not conducted. partnership Applied Arts Scotland. challenges1 Outwith the HebCelt festival, accessing physical events to display and take orders at was not cost efficient sdue to being located on an island. challenges2 An interview was not conducted. Social Media The social media links. instagram,Diggory Brown ; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Annette_Sopata Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Annette Sopata Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 47 Language A language of the resource English Contributor An entity responsible for making contributions to the resource iain Extent The size or duration of the resource. x x Identifier An unambiguous reference to the resource within a given context 802 Spatial Coverage Spatial characteristics of the resource. current,58,6; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Scotland Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Annette Sopata Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context Spinning wool, weaving, kiltmaking, tailoring. Field Worker Netty Sopata Economic Threats Insufficient renumeration Weakened Practice Aged practitioners,Diminishing participation,Diminishing youth interest,Halted transmission between generations,Reduced practice Loss Threats Loss of knowledge SDG Good Health and Wellbeing,Responsible Consumption and Production,Life On Land External ID AAS_CP_06 Knowledge To shear a sheep requires practise and stamina. The way in which the sheep is handled determines whetehr they will stay still so a sequence of movments are followed to guide the animal into certain posiitons as the shearer cuts away the fleece in certain directions. When carried out correctly a whole fleece is removed from a sheep in one piece with a calm and un-stressed animal. Knowledge Transfer In Ness some commuinal shearing still takes place using hand shears but this is decreasing, as such so too are the opportunities for the younger generations to learn those skills. It is also similar for machine shearing, but because you can earn money from machien shearing it is more attractive for younger people to learn. Practitioners There are two well known shears that operate commericially across the Isle of Lewis and Harris. Therew ill be more across the rest of Scotland, but due to geographical boundaries they do not travel over to the islands to work. Function Shearing as a village community at the village fank does still occur sometimes, normally if all of the livestock are gathered from the common grazing on a day that the machine shearer has been booked. This becomes a social occasion, gaelic is spoken in these scenarios and stories or 'yarns' are told. Origins and change Sheep need to be shaered once a year for their welfare - this has not altered since humans began to rear and keep them. Organisations The Wool Board: https://www.britishwool.org.uk The Crofters Commission: https://www.crofting.scotland.gov.uk Places Each village in the area of Ness has a 'Fank.' A dedicated, outdoor handling facility to pen sheep in and handle them for shearing, dosing and dipping. Artefacts Woven Tweed Fabric. Climate Threats Description As the climate changes and becomes warmer the time at which the wool rises i.e the old fleeces is ready to cut away has altered. Over the peast couple of years some Crofters have sheared as early as May Economic Threats Description The price the woolboard pays the crofter fro each fleece is less than the crofter has to pay for the sheep to be sheared. Weakened Practice Description In Ness some commuinal shearing still takes place using hand shears but this is decreasing, as such so too are the opportunities for the younger generations to learn those skills. It is also similar for machine shearing, but because you can earn money from machien shearing it is more attractive for younger people to learn. State of the practice declining Social sustainability It contributes to social cohesions when the viallge athers livestock at the fank in preparation for the shearing to commence. Environmental sustainability Wool is a sustainable resource. Economic sustainability It supports the self-sufficient lifestyle of crofting and has to take place foe the welfare of the animal. Place The town or city Habost, Port of Ness Place Description Habost is a vilage that sits within Galson Estate which consists of 56,000 acres of coast, agricultural land and moor in the North West of the Isle of Lewis in the Outer Hebrides of Scotland. The estate comprises of 22 villages running from Upper Barvas to Port of Ness with a population of nearly 2,000 people. The estate passed into community ownership on 12 January 2007, to be managed on their behalf by Urras Oighreachd Ghabhsainn (https://www.galsontrust.com) The area is rural, with a strong cultural heritage centered around the gaelic language, traditional music and crofting. Prim Media 2078 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sheep Shearing Type The nature or genre of the resource Intangible Description An account of the resource Sheep Shearing is a process used by crofters in the hebrides to remove the old wool or 'fleeces' from their sheep when the new groeth starts to 'rise' in the late summer. The traditional method of shearing is to use hand-held shears – this is till practised by some crofters in Ness, but there is also travelling shearer who can be paid per sheep to shear using elctric clippers. Tradiotnally the shearing process would have been conducted at the village 'fanks' – commnical handling areas for livestock that sit on the common grazing land. As the sheep are sheared a team of usually woemn, would clean off, roll up and bag the fleeces ready for the wool board to collect. Alternatively, the wool can be kept and processed at micro mills on behalf of the crofter but this is very rare and an expensive process to complete. Creator An entity primarily responsible for making the resource 2076 Language A language of the resource English,Scottish Gaelic Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 803 Source A related resource from which the described resource is derived highlandandislands Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 05/01/2026 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Clipping Spatial Coverage Spatial characteristics of the resource. current,58,-6; Date Modified Date on which the resource was changed. 05/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews https://culturality.museum/omeka/files/original/024a784629d165671c32ec6b00d6c54f.jpg be873b83008dc141fed81b0f15ccccf7 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Shearing using hand shears Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2017-06-26 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Sopata https://culturality.museum/omeka/files/original/a8214bf0a5aefe2ad95bae9f95f7d538.jpg 02575d91fdd31566362e4acf97f39478 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rolling the fleeces at the fank Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-08-01 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Sopata https://culturality.museum/omeka/files/original/9545e26035c4d2439171e420e6762bee.jpg 51613433ff2828b9608c760a63686280 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Shaering using machine clippers / shears Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-08-01 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Sopata Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Material Wool Natural Cultural Cultural Function A textile that can be used fro garments or home furnishings Creation Purpose For sale Technique Woven Material Source Please see above Conecept The wool used to weave this cloth was sheared (AAS_CP_06) from the sheep belonging to AAS_PR_06. An emotionl connection exists therefore because the work invovled in tending to the sheep is understood by the practtioner. The treu financial cost of this artefact can never truley be realised. Production Quality One years 'clip' of wool produced appeoximately 100metres of cloth External ID AAS_AR_17 Field Worker Netty Sopata Craft fibre and textile crafts Tool Hattersley Loom Place The town or city Ness, Isle of Lewis Prim Media 2083 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harris Tweed Type The nature or genre of the resource Physical Object Description An account of the resource Woollen cloth handwoven on a single width Hattersley Loom by a weaver in the Isle of Harris. The wool used in this cloth comes from a flock of Hebridean sheep owned by AAS_PR_06. After shearing it was washed, carded and spun at Uist Wool micro-mill and then woven into Harris Tweed. Creator An entity primarily responsible for making the resource 2076 Language A language of the resource Scottish Gaelic Extent The size or duration of the resource. 40000cm x cm x 75cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 805 Source A related resource from which the described resource is derived craftedobjects,scotlandobjects,highlandandislands Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 06/01/2026 Spatial Coverage Spatial characteristics of the resource. current,58,-6; Date Modified Date on which the resource was changed. 06/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/16aea52631313f40d803bcfcf47a95dd.jpg 3daf725a45ddb57a3ee09e2a429c0888 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Diggory borwn Harris Tweed Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Netty Sopata Website A resource comprising of a web page or web pages and all related assets ( such as images, sound and video files, etc. ). Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Therese Henner Touch screen exhibit Type The nature or genre of the resource Website Format The file format, physical medium, or dimensions of the resource text/x-uri License A legal document giving official permission to do something with the resource. In Copyright (InC) Identifier An unambiguous reference to the resource within a given context 806 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/touchscreens/varmland/ https://culturality.museum/omeka/files/original/96d0bc3dbfb1e0443e8c63375398d505.jpg ec003e1a58b1e20ec0bbc61883970465 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Petra Plestenjak Podlogar in her workshop (working room in her house) in Škofja Loka Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource xx.xx.2019 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Luka Karlin https://culturality.museum/omeka/files/original/b19f1f0c21733bf88101ce1f55a9045e.jpg 30629191325910b09c2451237ac9adfe Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Petra Pletenjak Podlogar shows her products (carved relief) in her workshop. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 06/02/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin Artisan An artisan Contact petra.plestenjak@gmail.com Author iain Email The email address of the museum. petra.plestenjak@gmail.com Phone The phone number +386 (0)41 503 749 Prim Media 2086 Biographical Text Petra Plestenjak Podlogar (1963) graduated at the Higher School of Textile Design at the Faculty of Natural Sciences and Engineering in Ljubljana. In 1978 and 1990, she obtained the title of Master of Arts and Crafts in Slovenj Gradec. She has worked as a freelance cultural profession for 17 years. For the last 10 years, carving has been a complementary activity to her other jobs, as it was difficult to make a living from this craft. She started carving as 11 years old child, having been surrounded by her father's drawings and her grandfather's carvings. She enjoyed spending her free time with a chisel in her hands. She carves figures, both human and animal, and ornaments out of wood. She specialises in making models for stamping the "Mali kruhek" - small honey bread from Škofja Loka continuing a family tradition. Petra Plestenjak Podlogar preserves the rich cultural tradition of carving motifs on wooden that models. These designs are not replicas of the old ones made by self-taught and trained carvers from the 18th century onwards - Petra enhances them with her own floral, geometric or figurative ornamentation. Because she does not use any templates, each piece is unique. She also complements her designs with new wood products - bookmarks, wooden wall reliefs with different motifs, built-in furniture panels and greeting cards. The unit "Making small breads and wooden models", of which Petra Plestenjak Podlogar is the bearer, was entered in the National Register of Intangible Cultural Heritage in April 2018, see: http://www.nesnovnadediscina.si/en/register-of-intangible-cultural-heritage/making-small-breads-and-wooden-models She lives and works in Škofja Loka. External ID ZRCSAZU_PR_02 Knowledge Acquisition She started learning carving as a child from her grandfather. She made her first piece when she was 11 years old. She has been carving for more than 50 years. Knowledge Transfer Petra runs decolourisation workshops at the DUO Škofja Loka craft centre, groups of up to 8 people, attended by adults, children and families. She has also had several individual students, including from abroad. During the course, participants make their own product. Field Worker Barbara Ivančič Kutin Gender female Area Relation native Area Reason Resident of Škofja Loka since birth. Occupation woodwork Involvment part-time paid job knowledge1 Carving small items such as small bread models requires, above all, a joy for working with wood, manual dexterity, precision and mastery of technique (working with the chisels, sanding, coating) and a certain sense of aesthetics; it is also necessary to know the properties of the wood, as not all wood is suitable for fine and precise cuts (it must not be broken, layered). material1 The wood most commonly used is pear, which is hard enough, without strong annual lines and knots, and does not break. material2 Sometimes she buys wood (a piece of log or board) from farmers in the area, but most of the wood she uses for her products is waste wood she gets from cabinet-makers because she needs mainly small pieces for his products. material3 There is almost no waste. Sometimes small pieces are turned into decorative items (earrings, pendants) and the useless shavings are thrown into the wood stove. production1 Petra uses exclusively hand carving techniques with various chisels. The basic working parts are made by a joiner: the wood is sliced into plates, basic shapes are cut out, a hole is drilled in the back (for hanging). production2 The basic tools are chisels, a wooden plunger for pounding, and a smoothing paper. The drilling machine she uses to drill holes in the back of the products designed to be hung on the wall. production3 The tools serve as indispensable tools in her carving. She handles the tools very carefully. All the chisels were used by her grandfather, so they are very valuable to her. production4 s. All the work is done by hand; the exception is the drilling of the holes for the hangers, which is done with an electric drill. production5 There is no waste. workshop Petra's carving workshop in one of the rooms in the family house. products1 She mainly makes carved wooden moulds for the so-called "mali kruhek" (honey bread made by pressing dough into hand-carved wooden moulds or shaped and decorated freehand; "Making small breads and wooden models", of which Petra Plestenjak Podlogar is the bearer, was entered in the Register of Intangible Cultural Heritage in April 2018, see: http://www.nesnovnadediscina.si/en/register-of-intangible-cultural-heritage/making-small-breads-and-wooden-models She also produces decorative wooden reliefs, key rings, wooden jewellery (pendants, earrings), bookmarks, and occasionally (on request), inlays for furniture (e.g. wardrobes, chests). products2 Mostly she sells only made-to-order products, otherwise she carves for herself - for her own pleasure and as gifts for friends. products3 A few products are on sale in the handicraft centre's shop and museum shop, but mostly she sells only made-to-order products directly to her clients. products4 Petra makes products (from her carving repertoire) on request. Some of her products can be bought in the museum shop and the handicraft centre shop. products5 Almost never. Sometimes decorative items are rewaxed or coated with lye if they fade over the years. products6 The clients are very diverse, all people, and they all have in common that they like useful or decorative carvings; many of the clients are foreigners. Larger or more complicated pieces require a lot of work and cannot be cheap. Clients commission pieces for special gifts (anniversaries, birthdays, etc.) or as protocol gifts. products7 Her products carry the Art & Craft Slovenia certificate, issued by the Chamber of Craft and Small Business of Slovenia. tourism1 She participates in tourist events in Škofja Loka - carving workshops and baking small bread (which are related) as part of the Škofja Loka - Historical Town. She participates in craft colonies and exhibitions. tourism2 "Najboljši učitelj so lastne napake!" Translation: The best teacher is one's own mistakes. Hrana ni igrača, da bi jo metali stran, zato se mi zdi primerno geslo za medeno pecivo iz modelov, ki ga pečemo na delavnicah, čeprav je lepo: "Poglej in pojej!" Translation: Food is not a toy to be thrown away. That's why the motto for the beautiful honey cakes made from the models we bake in the workshops is: "See and savour" partnership Petra is a member of the DUO Škofja loka Handicraft Centre and is the President of the Škofja Loka Regional Chamber of Crafts and Arts and Crafts Section of the Slovenian Chamber of Crafts and Arts. She cooperates with the Handicraft Centre DUO, and in this framework it and other craftsmen and craftswomen often present themselves together, e.g. at fairs; once a year they have a handicraft colony. She cooperates with the Ethnographic Museum of Slovenia, it has worked with the municipality on the production of protocol dadaril, and is now cooperating with the ZRC SAZU. challenges1 Every new product or new pattern is a new challenge, especially for larger pieces. In the future, she would like to make a smaller chest with inserts for herself, as she has already made for a client, which is a challenge. challenges2 Izdelkov se ne da zaračnati tliko, kot je vanje vloženega dela. V trhgovinah pa so še visoke marže, zato prodajam le v muzejski trgovini in rokodelskem centru, kjer so marže nižje. Products cannot be charged as much as the work that goes into them. And there are still high margins in the shops, so I only sell them in the museum shop and the handicraft centre, where the margins are lower. references http://www.nesnovnadediscina.si/en/register-of-intangible-cultural-heritage/making-small-breads-and-wooden-models https://www.loski-muzej.si/spletni-arhiv-zusl/petra-plestenjak-podlogar/ https://www.kulturnadozivetja.si/rokodelski-center-duo/mojstri-rokodelci/item/28-petra-plestenjak-podlogar.html https://www.obrazislovenskihpokrajin.si/oseba/plestenjak-podlogar-petra/ Social Media The social media links. facebook,https://www.facebook.com/petraplestenjakrocnorezbarjenje; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Petra_Plestenjak_Podlogar Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Petra Plestenjak Podlogar Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1963 Language A language of the resource English,Croatian,Slovene Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 808 Source A related resource from which the described resource is derived artisans Spatial Coverage Spatial characteristics of the resource. current,46.1664897673265,14.3072256355819; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Scotland Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Petra Plestenjak Podlogar Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://www.centerduo.eu/mojstri-rokodelci/petra-plestenjak-podlogar/ https://culturality.museum/omeka/files/original/48afde616faa798c0e83a03a2f447ed4.jpg c70de0f2b50ab6cf85be7366131826a3 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chisels and other tools for wood carving. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-06 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin https://culturality.museum/omeka/files/original/5351c4c992c63431901d39af62326ef0.jpg cd756ff5562b5a337a127fbe22dc3837 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Carving a small bread model Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-06 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin https://culturality.museum/omeka/files/original/813dcc243b9de6f6bf8b51f2ad0dfafd.mp4 d8e2534b5d7171cf1ed05eb54aab52a0 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Short video: carving a small bread model. Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-06 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/ZRCSAZU_CP_02_03_.mp4 https://culturality.museum/omeka/files/original/532a87eac964f006923d02424a9576c1.jpg 24df77256331b0aaa650eb335ad5d6f9 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Workshop. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-06 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 2089 Context Closely linked to the practice of carving these models is the practice of baking "mali kruhek" (small bread). Both together are also listed in the Slovenian Register of Intangible Heritage. http://www.nesnovnadediscina.si/en/register-of-intangible-cultural-heritage/making-small-breads-and-wooden-models Field Worker Barbara Ivančič Kutin Economic Threats Insufficient financial resources,Increased income disparity Technological Threats Industrial production Weakened Practice Diminishing youth interest Climate Actions Community Engagement SDG Decent Work and Economic Growth,Sustainable Cities and Communities,Responsible Consumption and Production,Life On Land External ID ZRCSAZU_CP_02 AI Tools Yes AI Content Chat GPT was used for summarisation and translation of the text, and drafting of some answers which required technical or generalized (i.e. not the interviewer's specific) special knowledge. Knowledge Woodcarving requires various skills that enable precise and creative work with wood. Manual dexterity and precision: a woodcarver must have good control over tools and the ability to shape fine details. Knowledge of wood: understanding different types of wood, their structure, hardness, and properties is essential for successful carving. Tool proficiency: mastering traditional carving tools such as chisels, knives, and files, as well as modern equipment for more precise or efficient work. Spatial visualization and design skills: the ability to envision the final product and a good sense of proportion and aesthetics. Patience and perseverance – Carving is a demanding and time-consuming process, so precision and persistence are key to achieving high-quality results.These skills allow a woodcarver to develop their own style and create unique pieces that reflect their creativity and technical expertise. Knowledge Transfer In Škofja Loka and Slovenia in general, the knowledge of woodcarving is passed on in group and individual workshops led by experienced craftsmen. Practitioners Exact data on the total number of woodcarvers in Slovenia and the percentage of women among them is not available. Given the traditionally male-dominated nature of craft professions, it is likely that the proportion of women among woodcarvers is lower, but without precise data, this cannot be confirmed. But it is the female carver - Petra Plestenjak Podlogar - who is best known for carving the little bread models. Function The carving of molds for mali kruhek (small bread) - a type of honey pastry shaped in wooden molds) holds several important social functions and cultural meanings for communities, groups, and individuals today. Preservation of cultural heritage: this is a traditional craft passed down through generations, helping to maintain knowledge of folk woodcarving and honey pastry baking. Identity and community bonding: in places where mold carving and "mali kruhek" baking are still practiced, this tradition strengthens local identity and a sense of belonging. It is often associated with holidays, fairs, and local festivals. Artistic and craft expression: carving these molds is not just a craft but also an artistic expression, where artisans create unique motifs, often with historical or symbolic meanings. Touristic and economic aspect: wooden molds and "mali kruhek" are valued as souvenirs and part of the local tourism offer, contributing to the promotion of regional culture and providing additional income for artisans. Personal meaning and symbolism: baking and gifting "mali kruhek" often carry symbolic values related to luck, prosperity, and good wishes, giving this tradition special emotional significance for individuals. Thus, the carving of molds for "mali kruhek" continues to play an important role in preserving cultural heritage, strengthening community ties, and fostering artistic creativity. Origins and change The origins of carving molds for dough stamping date back to the Middle Ages when they were primarily used by monasteries and the wealthier classes to create ceremonial pastries. Over time, the practice spread to craftsmen and peasants, with designs adapting to local traditions. This was also the case of "mali kruhek" (small bread) in Škofja Loka, where the tradition expanded from the monastery. Initially, the molds were crafted by skilled carvers, but later, bakers and local artisans also took up the practice. While the techniques have remained largely unchanged due to the handmade nature of the craft, the tradition continues to thrive, particularly through handicraft workshops, museums, and tourist event. Organisations No specific organisation is linked to this practice. Places Workshops are held in the museum and handicraft centre in Škofja Lokita and in the workshop of carver Petra Plestenjak Podlogar for individual participants. Artefacts The carving of the small bread moulds is carried out with minimal tools such as wooden planks and various chisels, as well as abrasive tools (mainly cotton cloth or a natural brush). The only pre-prepared materials are the basic wooden tiles and the basic shape cut into them, which is prepared by the joiner using machines. Economic Threats Description Hand-carved products are more expensive than the industrially produced ones sold in souvenir shops, due to the time investment involved. In addition, shops have high margins, which make the product even more expensive. Sales are limited to orders and to the museum shop and the handicraft centre, which have lower margins. Technological Threats Description Machine-made wooden products with a relief similar to hand carving are much cheaper; uninformed customers find carved products expensive because they do not realise how many hours of work go into a single product. . Weakened Practice Description The economic viability of carving is uncertain, making it less attractive as a professional activity. It is more interesting as a hobby or as a complementary activity. State of the practice stable Social sustainability Carving does not require a lot of space or expensive equipment. It can be adapted for children, the elderly and people with disabilities, making it an inclusive craft. Environmental sustainability Yes, the practice contributes to environmental sustainability, as it uses only natural materials, in fact mostly wood waste, and does not require electricity. Economic sustainability ? Place The town or city Škofja Loka, Gorenjska, Slovenia Place Description 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. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Models for baking small bread (mali kruhek) Type The nature or genre of the resource Intangible Description An account of the resource Woodcarving in general is a craft technique of shaping wood by carving decorative or functional motifs. In Slovenia, it has a long tradition, especially in the Gorenjska, Štajerska, and Ribnica regions, where it developed alongside carpentry and woodenware production. It was often present in sacred art, in the making of wooden statues, altars, and decorative furniture elements. Today, woodcarving is preserved both as an artistic and a craft practice, with many artisans combining traditional and modern techniques. Craft workshops, museums, and folk art festivals play an important role in preserving this heritage. The carving of moulds for pressing out dough for small bread is a particular feature of Škofja Loka and its surroundings. Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 809 Source A related resource from which the described resource is derived practices References A related resource that is referenced, cited, or otherwise pointed to by the described resource. http://www.nesnovnadediscina.si/en/register-of-intangible-cultural-heritage/making-small-breads-and-wooden-models https://www.obrazislovenskihpokrajin.si/oseba/plestenjak-podlogar-petra/ https://www.kulturnadozivetja.si/rokodelski-center-duo/mojstri-rokodelci/item/28-petra-plestenjak-podlogar.html Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/01/2026 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Rezbarjenje modelčkov za peko "malega kruhka" Spatial Coverage Spatial characteristics of the resource. current,46.16645630152873,14.307220267982746; Creator An entity primarily responsible for making the resource 2088 Date Modified Date on which the resource was changed. 13/01/2026 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews