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              <text>Traditionally, women carried out the entire wool process at home —shearing, washing, carding, and spinning— and continuously knitted socks and stockings for family members using the resulting yarn. Typically, the socks are knitted with undyed sheep’s wool, using four wooden needles.  The wool comes from local farms in Asturias and has been selected by Marina in the natural colors of Xalda sheep: black, grey, and white. The raw material is sent to a spinning mill, where it undergoes washing, carding, and spinning. Marina handcrafts these socks herself.</text>
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                <text>These socks are made from pure virgin wool sourced from Xalda sheep. Hand-knitted wool socks —known as calcetos in Asturian— have long been part of traditional Asturian attire, and they remain one of the few garments that have endured to the present day.  While traditionally they were monochrome, usually white or black, more recent designs have introduced a variety of patterns and colors. In this case, the socks are made from undyed raw wool, and by combining naturally colored wool, decorative motifs are also created.</text>
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                <text>Argüelles Sánchez, L. (1986). Indumentaria popular en Asturias. GH Ed.&#13;
Roza, G. (2006). La indumentaria tradicional asturiana: Guía práctica. Gloria Roza Cuesta.&#13;
Santoveña Zapatero, F. (2018). Traje tradicional, indumentaria popular y construcción del cuerpo en Asturias (1860-1920). Muséu del Pueblu d’Asturies; Fundación Municipal de Cultura, Educación y Universidad Popular; Ayto. de Gijón / Xixón. https://sedeelectronica.gijon.es/publicacions/show/8549-traje-tradicional-indumentaria-popular-y-construccion-del-cuerpo-en-asturias-1860-1920/</text>
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                <text>Calcetines de lana, calcetos</text>
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              <text>Direct sale to customers.</text>
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          <name>Technique</name>
          <description/>
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              <text>The wool comes from local farms in Asturias and has been carefully selected by Marina, preserving the natural colors of the Xalda sheep breed (black, grey, and white). The raw material is sent to a specialized spinning mill, where it undergoes washing, carding, and spinning processes.  Marina crafts these headscarves by hand, knitting with needles. At times, to speed up production, she collaborates with another artisan who uses a knitting machine (tricotosa), while maintaining the handcrafted nature of each piece.</text>
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              <text>The wool comes from Xalda sheep raised on farms in Asturias. </text>
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              <text>Knitted fabrics began to gain popularity in Spain during the 20th century. Before that, women knitted wool socks, stockings, and other garments at home using four needles. With the invention of knitting machines and the rise of hand knitting, domestic production expanded to include a wide range of garments such as jackets and sweaters, as well as accessories like gloves, hats, and scarves.  The baby bonnet is not part of traditional Asturian attire, but it has been adopted in modern times thanks to the growing popularity of knitted fabrics. This particular model, made from native sheep’s wool, aims to be a contemporary garment that also evokes the past. Its purpose is to reconnect clothing traditions with cultural identity and the surrounding landscape.</text>
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          <description>The town or city</description>
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              <text>Tene, Quirós, Asturias, Spain</text>
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            <name>Title</name>
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                <text>This baby bonnet is made from pure virgin wool sourced from Xalda sheep, a native breed of Asturias. The design is very simple: a cap that fully covers the head, with two woolen ties to fasten it at the front.  It is a practical and versatile garment, designed to keep little ones warm during the winter. It originated from Marina’s personal need for a warm accessory, and is now part of her handcrafted collection, available for purchase.</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
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                <text>The baby bonnets are produced continuously, depending on the availability of raw materials and demand. The piece in question was made in 2025 and is currently stored in stock, ready for sale.</text>
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          </element>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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            <name>Language</name>
            <description>A language of the resource</description>
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            <description>The size or duration of the resource.</description>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>iain</text>
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                <text>asturiasmap</text>
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            <description>A related resource that is referenced, cited, or otherwise pointed to by the described resource.</description>
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              <elementText elementTextId="23316">
                <text>Joicey, C. (2025). History of Fashion for children. Thames &amp; Hudson.</text>
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            <name>Date Submitted</name>
            <description>Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal).</description>
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                <text>13/10/2025</text>
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            <name>Alternative Title</name>
            <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
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                <text>Capota</text>
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            <description>Spatial characteristics of the resource.</description>
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            <name>Date Modified</name>
            <description>Date on which the resource was changed.</description>
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                <text>13/10/2025</text>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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            <description>The Europeana material type of the resource.</description>
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        <authentication>c4477c9e90dfe318f7987e64c70c055c</authentication>
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      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
      <elementContainer>
        <element elementId="187">
          <name>External ID</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="31897">
              <text>UNIOVI_AR_44(02)</text>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Brown baby bonnet</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2025-06-06</text>
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            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
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                <text>current,43.2049336487794,-5.99387663815977;</text>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
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            <name>Europeana Rights</name>
            <description>Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal.</description>
            <elementTextContainer>
              <elementText elementTextId="23301">
                <text>Santiago Rodríguez Pérez</text>
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            <name>Country</name>
            <description>The name of the country of the data provider or “Europe” in the case of Europe-wide projects.</description>
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                <text>Spain</text>
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      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
      <elementContainer>
        <element elementId="187">
          <name>External ID</name>
          <description/>
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            <elementText elementTextId="31894">
              <text>UNIOVI_AR_44(01)</text>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="23287">
                <text>Brown baby bonnet</text>
              </elementText>
            </elementTextContainer>
          </element>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2025-06-06</text>
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            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
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        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
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            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
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          </element>
          <element elementId="99">
            <name>Europeana Rights</name>
            <description>Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal.</description>
            <elementTextContainer>
              <elementText elementTextId="23293">
                <text>Santiago Rodríguez Pérez</text>
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          <element elementId="92">
            <name>Country</name>
            <description>The name of the country of the data provider or “Europe” in the case of Europe-wide projects.</description>
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                <text>Spain</text>
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  <item itemId="1784" public="1" featured="1">
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      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
      <elementContainer>
        <element elementId="130">
          <name>Prim Media</name>
          <description/>
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              <text>1782</text>
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          <name>Material</name>
          <description/>
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              <text>Virgin wool from Xalda sheep, available in three natural shades: black, grey, and white — the original colors of the animal.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="189">
          <name>Natural Cultural</name>
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        <element elementId="223">
          <name>Function</name>
          <description/>
          <elementTextContainer>
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              <text>Warm head scarf</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="224">
          <name>Creation Purpose</name>
          <description/>
          <elementTextContainer>
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              <text>Direct sale to customers.</text>
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          </elementTextContainer>
        </element>
        <element elementId="225">
          <name>Technique</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23274">
              <text>The wool comes from local farms in Asturias and has been carefully selected by Marina, preserving the natural colors of the Xalda sheep breed (black, grey, and white). The raw material is sent to a specialized spinning mill, where it undergoes washing, carding, and spinning processes.  Marina crafts these headscarves by hand, knitting with needles. At times, to speed up production, she collaborates with another artisan who uses a knitting machine (tricotosa), while maintaining the handcrafted nature of each piece.</text>
            </elementText>
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        <element elementId="226">
          <name>Material Source</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23275">
              <text>The wool comes from Xalda sheep raised on farms in Asturias. </text>
            </elementText>
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        </element>
        <element elementId="227">
          <name>Conecept</name>
          <description/>
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              <text>Knitted fabrics began to gain popularity in Spain during the 20th century. Before that, women knitted wool socks, stockings, and other garments at home using four needles. With the invention of knitting machines and the spread of hand knitting, domestic production expanded to include sweaters and jackets.  The design of this headscarf recalls the traditional scarves worn by rural women as part of their attire until the early 20th century, as well as those used in everyday fashion for many years afterward. Today, the use of women’s headscarves has largely fallen out of practice.  This model, made from native sheep’s wool —an innovation compared to traditional materials like linen or cotton— aims to offer a contemporary garment that also evokes the past. Its purpose is to reconnect clothing traditions with cultural identity and the surrounding landscape.</text>
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          <name>Production Quality</name>
          <description/>
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              <text>Limited-run production</text>
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          <name>External ID</name>
          <description/>
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              <text>UNIOVI_AR_43</text>
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          <name>Field Worker</name>
          <description/>
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              <text>Rodríguez Pérez, Santiago</text>
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          <description/>
          <elementTextContainer>
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          </elementTextContainer>
        </element>
        <element elementId="275">
          <name>Tool</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23282">
              <text>Machinery for washing, carding, and spinning wool; knitting needles; machines for knitted fabrics (tricotosa).</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="155">
          <name>Place</name>
          <description>The town or city</description>
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              <text>Tene, Quirós, Asturias, Spain</text>
            </elementText>
          </elementTextContainer>
        </element>
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          <name>Wiki</name>
          <description>A link to a wiki entry about this item.</description>
          <elementTextContainer>
            <elementText elementTextId="23285">
              <text>https://culturality.museum/wiki/index.php/Headscarf</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Headscarf</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>This headscarf is made from pure virgin wool sourced from Xalda sheep, a native breed of Asturias. Its simple design is inspired by the traditional scarf that Asturian women used to wear to cover their heads until just a few decades ago.  Although the traditional headscarf gradually disappeared with the rise of modern fashion, scarves continued to be used throughout the 20th century to keep the head warm during colder months.  This reinterpretation of the traditional scarf, now crafted in knitted wool, is an original design by Marina. It was born out of a personal need for warmth and has evolved into a practical and versatile winter accessory, now available for purchase.</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="23260">
                <text>The headscarves are produced continuously, depending on the availability of raw materials and demand. The piece in question was made in 2025 and is currently stored in stock, ready for sale.</text>
              </elementText>
            </elementTextContainer>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>Asturian,Spanish</text>
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            <name>Extent</name>
            <description>The size or duration of the resource.</description>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>725</text>
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Roza, G. (2006). La indumentaria tradicional asturiana: Guía práctica. Gloria Roza Cuesta.&#13;
Santoveña Zapatero, F. (2018). Traje tradicional, indumentaria popular y construcción del cuerpo en Asturias (1860-1920). Muséu del Pueblu d’Asturies; Fundación Municipal de Cultura, Educación y Universidad Popular; Ayto. de Gijón / Xixón. https://sedeelectronica.gijon.es/publicacions/show/8549-traje-tradicional-indumentaria-popular-y-construccion-del-cuerpo-en-asturias-1860-1920/</text>
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              <text>The wool comes from local farms in Asturias, where native sheep breeds are raised. Marina personally selects the raw material, respecting the natural colors of the wool and avoiding the use of dyes, which adds authenticity and sustainability to the process.  Once collected, the wool is sent to a specialized spinning mill, where it undergoes washing, carding, and spinning using traditional methods that preserve the quality of the material.  The prepared yarn is then returned to Marina, who carefully selects the wool cones before sending them to a knitting workshop located in Béjar (Salamanca). This workshop is run by a small family business and is equipped with specific knitting machinery (tricotosa), allowing for the creation of uniquely handcrafted knitwear.  Each garment is designed by Marina, who blends tradition, respect for materials, and a contemporary aesthetic. The entire process is carried out without the use of dyes, maintaining the natural tones of the wool and reducing environmental impact.</text>
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                <text>This jacket is made from pure virgin wool sourced from Xalda sheep, a native breed of Asturias known for the quality of its fiber and its adaptation to rural environments. The design is simple and functional, featuring two front pockets, long sleeves, and an open front without lapels. The buttons are crafted from Spanish olive wood, adding a natural and artisanal touch that reinforces the garment’s sustainable character.  The jacket follows a classic rural style, reinterpreted by Marina with a focus on comfort and versatility. Her goal was to create an open garment suitable for all seasons, and especially practical for breastfeeding, without compromising on aesthetics or functionality. The result is a practical, adaptable piece with a strong identity.  Although originally conceived as a unisex jacket, experience showed that many potential customers were unable to purchase it due to sizing limitations. As a result, Marina has begun developing a men’s version in a larger size, expanding its market potential while maintaining the essence of the original design.  The jacket was launched recently, but is not yet available for purchase on her website. It represents a proposal that blends tradition, sustainability, and contemporary design, highlighting local resources through artisanal fashion.</text>
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                <text>Kensington, S. (2024, septiembre 1). The Evolution and Impact of the Cardigan: A Knitted Icon. Paul James Knitwear. https://www.pauljamesknitwear.com/blogs/guide/history-of-cardigans&#13;
Llorente, L. (2022). Los tejidos de entreguerras, 1920-1939. Modelos del mes. Museo del Traje, 4. https://www.cultura.gob.es/dam/jcr:b414b4b1-0da1-44bb-937a-90b2f4c4e331/mdm11-2022-tejidos-digital.pdf&#13;
R., B. (2013, junio 19). Imagesa—Industria Madrileña de Géneros de Punto—Pueblo Nuevo. Historias matritenses. https://historias-matritenses.blogspot.com/2013/06/imagesa-industria-madrilena-de-generos.html</text>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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                <text>Santiago Rodríguez Pérez</text>
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              <text>Decoration, rug, baby cradle base, cushion lining, bag material, among others.</text>
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              <text>To create this piece, the lamb must be slaughtered at around six months of age, or once it reaches the appropriate size. After slaughter, the hide is removed through a series of precise cuts along the animal’s body.  The tanning process is carried out naturally using salt. This traditional method removes excess moisture and preserves the fleece. Unlike industrial tanning, which involves harsh chemical treatments, salt tanning maintains the wool’s original properties. If conventional chemicals used in the leather industry were applied, the fleece would detach completely, resulting in the loss of one of the material’s key qualities.  Once tanned and dehydrated with salt, the hide is hung to dry. Traditionally, in rural villages, hides were hung on the outer walls of hórreos—elevated granaries typical of northern Spain—where they were protected from direct sunlight to prevent damage to the fleece. Marina and Rodrigo use drying frames for this process, which allows for even drying.  Once dry, the hide becomes stiff and cardboard-like in texture, but gradually softens with use. To accelerate this process, moisturizing creams can be applied to improve its flexibility. Lambs of the Xalda breed, native to Asturias, produce small-sized hides that are highly valued for their quality and unique characteristics.  Today, this activity represents a promising business opportunity, as it allows for the reuse of a by-product that is typically discarded in the meat industry. In Spain, there are factories dedicated to hide production, although most operate on an industrial scale, and even large multinational furniture companies use this type of material.  On a semi-artisanal level, there are tanneries that produce conventional hides without fleece, especially in the neighboring region of Galicia, where small factories still exist. However, in Asturias, there are no traditional tanneries available to process the hides. Marina and Rodrigo could increase their production if they had acce</text>
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              <text>These sheepskins originate from lambs raised and processed at Marina and Rodrigo’s livestock farm.</text>
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              <text>This object has practically disappeared in Asturias, as it is rarely used today for cradles or saddles. Nevertheless, for many people it holds a value beyond decoration, as it is made from the hide of a native sheep breed and serves as a way to connect with rural life through an item that, although now primarily decorative, carries strong cultural and symbolic significance.</text>
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              <text>Produced in batches of 40 to 50 units, depending on the flock size and slaughter schedule.</text>
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          <description/>
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              <text>Rodríguez Pérez, Santiago</text>
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          <name>Place</name>
          <description>The town or city</description>
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          <description>A link to a wiki entry about this item.</description>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>This product is a sheepskin tanned naturally using salt, which preserves both the hide and the animal’s original fleece. Salt tanning is a traditional technique that avoids the use of harsh chemicals, maintaining the natural properties of the wool, such as its softness, durability, and thermal insulation capacity.  Historically, these fleeces were used as a base in cradles for babies due to their waterproof and insulating qualities. The structure of the wool repels moisture and allows for good air circulation, helping to maintain a stable body temperature. Additionally, its softness and natural texture provided a comfortable and safe surface for newborns.  They were also used as padding in saddles, offering comfort and thermal protection for the rider. In rainy regions of northern Spain, it was common to cover the foreheads of oxen and cows yoked for agricultural work with skins from dogs, sheep, goats, or badgers, to prevent moisture from weakening the leather straps (corniales), thus ensuring the effectiveness of the draft.  Today, sheepskin fleeces have found new uses in home decor. They are highly valued as rugs, sofa or armchair covers, and decorative elements in interior spaces, thanks to their rustic and cozy aesthetic. They are also used in fashion and accessories, such as bags or outerwear.  In addition to their functionality, naturally tanned sheepskins are a sustainable option, as they make use of a by-product of livestock farming and avoid polluting industrial processes. This makes them an environmentally friendly alternative, aligned with current trends in responsible consumption.</text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>Sheepskins are produced throughout the year, depending on lambing dates and the age of the animals. The documented piece was made a few months prior to our visit.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>1616</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>Spanish</text>
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          <element elementId="78">
            <name>Extent</name>
            <description>The size or duration of the resource.</description>
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                <text>90cm x cm x 50cm</text>
              </elementText>
            </elementTextContainer>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="23124">
                <text>iain</text>
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            </elementTextContainer>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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            <name>References</name>
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              <elementText elementTextId="23127">
                <text>La piel de las ovejas, ardi-larrua. Atlas Etnográfico de Vasconia. Disponible en: https://atlasetnografico.labayru.eus/index.php/La_piel_de_las_ovejas_ardi-larrua &#13;
Fajardo Hernández, R. M. (2020, enero 23). Más de un Siglo de Carneros en El Hierro, 1920-2020. Gaceta del Meridiano. https://www.gacetadelmeridiano.com/index.php/la-isla/156-cultura/6209-mas-de-un-siglo-de-carneros-en-el-hierro-1920-2020&#13;
Rodríguez Rodríguez, A. (1997). La tecnología de la piel y el cuero en la prehistoria de Canarias. Una aproximación etnoarqueológica. El Museo Canario, 52, 11-31. https://accedacris.ulpgc.es/jspui/handle/10553/24250</text>
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            <name>Date Submitted</name>
            <description>Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal).</description>
            <elementTextContainer>
              <elementText elementTextId="23129">
                <text>13/10/2025</text>
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            </elementTextContainer>
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            <name>Alternative Title</name>
            <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
            <elementTextContainer>
              <elementText elementTextId="23139">
                <text>Piel de cordero con pelo natural, zalea (spa..)</text>
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            <description>Spatial characteristics of the resource.</description>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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            <description>The Europeana material type of the resource.</description>
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      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
      <elementContainer>
        <element elementId="187">
          <name>External ID</name>
          <description/>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <description>A name given to the resource</description>
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            <description>The nature or genre of the resource</description>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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            <description>The Europeana material type of the resource.</description>
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            <description>Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal.</description>
            <elementTextContainer>
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                <text>Santiago Rodríguez Pérez</text>
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            <name>Country</name>
            <description>The name of the country of the data provider or “Europe” in the case of Europe-wide projects.</description>
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      <elementContainer>
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          <name>External ID</name>
          <description/>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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                <text>Santiago Rodríguez Pérez</text>
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            <name>Country</name>
            <description>The name of the country of the data provider or “Europe” in the case of Europe-wide projects.</description>
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              <description>A name given to the resource</description>
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          <description/>
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              <text>Oral traditions for learning the crafts, certain woven bands for male/female/different families, for childrens crib (Komse), </text>
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          <name>Field Worker</name>
          <description/>
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          <description/>
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          <description/>
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          <description/>
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          <description/>
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        <element elementId="276">
          <name>Knowledge</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23075">
              <text>how to make the warp, how to put the threads through the rigid heddle loom for the wanted pattern. How to do regular weaving, and how to "pick" different patterns. </text>
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        </element>
        <element elementId="230">
          <name>Knowledge Transfer</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23076">
              <text>Between people, courses/classes, duodji societies/clubs</text>
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          </elementTextContainer>
        </element>
        <element elementId="277">
          <name>Practitioners</name>
          <description/>
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              <text>Probably mainly women, but some men also do it.</text>
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          </elementTextContainer>
        </element>
        <element elementId="223">
          <name>Function</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23078">
              <text>Traditional bands made for use on the gákti/ Sámi traditional dress, as well as other purposes.</text>
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          </elementTextContainer>
        </element>
        <element elementId="278">
          <name>Origins and change</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23079">
              <text>The technique is very old. The production of the heddles/looms/njiskun themselves have been modernized and mass produced.</text>
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        </element>
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          <name>Organisations</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23080">
              <text>Local Sámi Duodjilag (Sámi handicrafts clubs), Duodjeinstituhtta, Sámij åhpadusguovdásj/Samernas utbildningscentrum in Jokkmokk (Sweden)</text>
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          </elementTextContainer>
        </element>
        <element elementId="280">
          <name>Places</name>
          <description/>
          <elementTextContainer>
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              <text>In this area: Várdobáiki samiske senter, Stuornjargga samiid duodji</text>
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          </elementTextContainer>
        </element>
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          <name>Artefacts</name>
          <description/>
          <elementTextContainer>
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              <text>Gákti/traditional Sámi clothes and childrens crib (Komse), but also used for other cultures, including the bunad traditions in Norway.</text>
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          </elementTextContainer>
        </element>
        <element elementId="281">
          <name>Climate Threats Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23083">
              <text>If the practitioner cannot get a hold of material, they cannot do the cultural practice</text>
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          </elementTextContainer>
        </element>
        <element elementId="282">
          <name>Technological Threats Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23084">
              <text>Use of industrial production, new technologies and modern (for example Synthethic materials) can make the products cheaper and more popular, and might contribute to threathening the cultural practice if there are less and less buyers of the products/users of the products made by the cultural practice</text>
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          </elementTextContainer>
        </element>
        <element elementId="284">
          <name>Decontextualization Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23085">
              <text>Touristification and misappropriation of woven objects can contribute to less use of the cultural practice if users/buyers of the products do no longer want to use the traditionally made products instead of the "fake" products.</text>
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          </elementTextContainer>
        </element>
        <element elementId="285">
          <name>Weakened Practice Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23086">
              <text>If less and less people are interested to learn the practice, and less people are interested in using the products, the practice might disappear. If the transmission between generations stops and the aged practitioners disappear, it will be much harder continuing keeping the cultural practice alive.</text>
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          </elementTextContainer>
        </element>
        <element elementId="290">
          <name>Loss Threats Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23087">
              <text>Words and terms explaining how to weave, and also the parts of the loom/parts of the yarn, techniques etc. disappear, and a lot of knowledge can disappear with them, as some of the Sámi terms might be more descriptive and explaining than the Norwegian or English ones.</text>
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        </element>
        <element elementId="297">
          <name>Safeguarding activities</name>
          <description/>
          <elementTextContainer>
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              <text>Duodjeinstituhtta have practitioners who hold workshops and courses in different areas where there are interested participants. Different Sámi duodjilag (handicrafts clubs) also do courses.</text>
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          </elementTextContainer>
        </element>
        <element elementId="298">
          <name>State of the practice</name>
          <description/>
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            <elementText elementTextId="23089">
              <text>declining</text>
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          </elementTextContainer>
        </element>
        <element elementId="293">
          <name>Social sustainability</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23090">
              <text>Inclusivity - anyone can learn the cultural practice.</text>
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          </elementTextContainer>
        </element>
        <element elementId="294">
          <name>Environmental sustainability</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23091">
              <text>Use of natural materials, mainly wool and cotton.</text>
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          </elementTextContainer>
        </element>
        <element elementId="295">
          <name>Economic sustainability</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23092">
              <text>Diversifying income sources - practitioners can make and sell products while still managing to work normally.</text>
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          </elementTextContainer>
        </element>
        <element elementId="155">
          <name>Place</name>
          <description>The town or city</description>
          <elementTextContainer>
            <elementText elementTextId="23093">
              <text>Ramavuolle, Reinåsen, Tjeldsund, Troms, Norway</text>
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          </elementTextContainer>
        </element>
        <element elementId="291">
          <name>Place Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23094">
              <text>Markasámi village</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Weaving bands with njiskun/ rigid heddle</text>
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            <description>An account of the resource</description>
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                <text>Weaving bands for traditional clothes or other purposes on a rigid heddle. The heddle is traditionally made from wood or antler, but modern ones are also made with modern materials like plastic.</text>
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            </elementTextContainer>
          </element>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>Norwegian,Sami</text>
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            </elementTextContainer>
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            <description>The size or duration of the resource.</description>
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            <name>Identifier</name>
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                <text>722</text>
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            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="23061">
                <text>lofotenmap</text>
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            <description>A related resource that is referenced, cited, or otherwise pointed to by the described resource.</description>
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                <text>Duodjeinstituhtta&#13;
Várdobáiki samisk senter&#13;
Stuornjargga Samiid Duodji</text>
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            <description>Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal).</description>
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              <elementText elementTextId="23064">
                <text>13/10/2025</text>
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            <name>Alternative Title</name>
            <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
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              <elementText elementTextId="23065">
                <text>Båndveving med njuskun/grindvev</text>
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            </elementTextContainer>
          </element>
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            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="23095">
                <text>current,68.58500463557306,16.70555667334062;</text>
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            </elementTextContainer>
          </element>
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            <name>Date Modified</name>
            <description>Date on which the resource was changed.</description>
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              <elementText elementTextId="23098">
                <text>13/10/2025</text>
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        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
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          <element elementId="100">
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            <description>The Europeana material type of the resource.</description>
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                <text>TEXT</text>
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            </elementTextContainer>
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            <name>Europeana Data Provider</name>
            <description>The name or identifier of the organisation that contributes data to Europeana.</description>
            <elementTextContainer>
              <elementText elementTextId="23099">
                <text>University of St Andrews</text>
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          </element>
        </elementContainer>
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    </elementSetContainer>
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    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="23046">
                <text>MN_CP_11</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="23047">
                <text>Still Image</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="23048">
                <text>iain</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="23050">
                <text>image/png</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="64">
            <name>License</name>
            <description>A legal document giving official permission to do something with the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="23051">
                <text>Creative Commons Attribution-ShareAlike License</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
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      <elementSet elementSetId="4">
        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
        <elementContainer>
          <element elementId="100">
            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="23049">
                <text>IMAGE</text>
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          </element>
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          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="51">
                  <text>Museum: University of St Andrews</text>
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              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
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                <elementText elementTextId="67">
                  <text>4</text>
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              </elementTextContainer>
            </element>
          </elementContainer>
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      </elementSetContainer>
    </collection>
    <itemType itemTypeId="43">
      <name>Intangible</name>
      <description/>
      <elementContainer>
        <element elementId="130">
          <name>Prim Media</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23012">
              <text>1766</text>
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          </elementTextContainer>
        </element>
        <element elementId="233">
          <name>Context</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23016">
              <text>Beekeeping is related, for example, to the traditional use of home remedies to treat stings. The most commonly used consist of applying or rubbing the sting area with different substances or plants: sweat from the armpits or testicles; smegma; mud or soil; dung; honey; garlic; parsley; houseleeks (Sempervivum montanum); "millo de rey" (an unknown plant); llantaine (Plantago media), and fern root. Other less widespread remedies included placing a silver coin (Taladriz, Ibias municipality) or sheep dung (Teyeo, Lena municipality). To relieve the pain of stings, infusions of a/triaca (Tanacetum vulgare) were also taken, especially in eastern Asturias. This practice also has a cultural connection with language. Abeyeiro and abeyista are Asturian terms used in some municipalities in the western part of the region to refer to people who keep bees. In Asturias, the word meleiro (honey seller) is used to describe "a person who sells honey," as well as someone with a gentle, mellifluous character who charms with their conversation. Likewise, the term miel (honey) is used to describe people with a soft and kind character, calling them "meixamiel," or applying the saying: "Faiste de miel y cómente les mosques" ("You are made of honey and eaten by flies").  </text>
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          </elementTextContainer>
        </element>
        <element elementId="236">
          <name>Field Worker</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23017">
              <text>Carmen Pérez Maestro</text>
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          </elementTextContainer>
        </element>
        <element elementId="190">
          <name>Climate Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23018">
              <text>Loss of biodiversity,Invasive species</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="191">
          <name>Economic Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23019">
              <text>Insufficient financial resources</text>
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          </elementTextContainer>
        </element>
        <element elementId="198">
          <name>Weakened Practice</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23020">
              <text>Diminishing participation,Diminishing youth interest,Reduced practice</text>
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          </elementTextContainer>
        </element>
        <element elementId="199">
          <name>Loss Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23021">
              <text>Loss of cultural spaces,Loss of knowledge</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="201">
          <name>SDG</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23022">
              <text>Zero Hunger,Good Health and Wellbeing,Affordable and Clean Energy,Climate Action</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="187">
          <name>External ID</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23023">
              <text>LAPONTE_CP_04</text>
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          </elementTextContainer>
        </element>
        <element elementId="276">
          <name>Knowledge</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23024">
              <text>Management techniques are one of the most crucial aspects of apicultural production, as human capacity to work with bees directly affects the sustainability and productivity of the apiary. In western Asturias, a set of techniques was traditionally known that allowed for the maintenance and expansion of beehives: natural swarms were captured during May and June, and it was also possible to induce artificial swarms when necessary. In March, the old wax at the bottom of the hives—known to encourage the spread of wax moths and hinder proper brood development—was removed. Colonies were fed if required, and finally, a portion of the bees’ harvest was extracted, ensuring that enough was left behind for the colony to survive the winter. By contrast, in the central-eastern areas of Asturias, beekeeping operations were generally reduced to two basic tasks: the capture of swarms in spring—an essential practice to maintain the apiary—and the complete extraction of honey and wax. For this purpose, the heaviest hives were selected, and all the bees were killed in the process. The coexistence of these two extraction methods—one involving partial harvesting ("cutting" or "castrating" the hive), and the other involving total extraction through the destruction of the colony—clearly delineates a fundamental difference between the apicultural practices of western Asturias and those of the central and eastern zones (López, 1994). Abeyeiros (traditional Asturian beekeepers) are drawn to the behavior and biology of bees, demonstrating a profound and often intuitive understanding of the species they work with.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="230">
          <name>Knowledge Transfer</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23025">
              <text>The learning of bee care was done, as with all teachings related to rural life, within the family. The youngest children, who did not take part in the hard tasks, would instead accompany their grandparents or parents to capture swarms in the spring and visit the beehives with them.</text>
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          </elementTextContainer>
        </element>
        <element elementId="277">
          <name>Practitioners</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23026">
              <text>Although beekeeping is generally considered a male activity, in western Asturias—where bees play a significant role in the domestic economy and the apiaries are scattered throughout the countryside—it was traditionally an exclusively male occupation. Conversely, in the central and eastern regions of Asturias, it was common for women to take care of hives within their homes. Currently, the majority of practitioners remain men; however, there is also a notable presence of women, with both young men and women actively involved in the practice.</text>
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          </elementTextContainer>
        </element>
        <element elementId="223">
          <name>Function</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23027">
              <text>Beekeeping represents an economic supplement or even a primary source of income for some beekeepers, particularly through the production of honey, wax, propolis, and other derivatives. This activity is closely linked to Asturian rural identity and has historical ties to traditional practices. In the context of rural depopulation and the loss of traditional occupations, sustaining beekeeping is viewed as an act of cultural resistance and the preservation of intangible heritage.        </text>
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        <element elementId="278">
          <name>Origins and change</name>
          <description/>
          <elementTextContainer>
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              <text>Traditional hives in Asturias are vertical and fixed-frame, meaning the combs are attached permanently to the hive body and can only be removed by breaking them. In contrast, modern movable-frame hives feature combs placed in removable frames that can be extracted without damage and then returned after honey extraction. The advantage of the latter system lies not only in harvesting honey without harming the bees but also in the ability to easily inspect and manipulate the colony. Until a few decades ago, more rudimentary methods were used to calm the bees during hive management: a tile with burning dung; a mechón or fumeiro—a bundle of old rags rolled up, which was the most common method; an escacio (an epiphytic lichen) harvested from trees; and oak bark. Nowadays, bellows smokers are employed.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="279">
          <name>Organisations</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23029">
              <text>The Federation of Beekeepers’ Associations of Asturias (FAPI) represents beekeepers before official bodies, private entities, and other institutions, advocating for the collective interests of the apicultural community. Additionally, ADAPAS (Association for the Defense of Bees of the Principality of Asturias) works to protect and promote the welfare of bees in the region.</text>
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        </element>
        <element elementId="280">
          <name>Places</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="23030">
              <text>Two specific constructions from this activity, of great ethnographic value, are the talameiros or talameras and, above all, the cortinos, beehives built in the mountains that appear in the western part of Asturias. Both types of beehives were and still are scattered across the sunny slopes of the low mountains and served to protect the hives from fire and bears. At the Beekeeping Museum of Caso, the life cycle of bees and their importance for the natural balance of the planet are displayed, helping to understand the foundations of the beekeeper’s work and the applications of the products obtained. Through its exhibition, one can observe the evolution of hives, the work involved in their preparation, the care they required, and the extraction of honey. Alongside this, there is an interesting collection of tools, utensils, and clothing necessary for beekeepers to carry out their work. The Beekeeping House in Los Mazos, Boal, is a center for dissemination and interpretation related to the art of bee breeding: traditional beekeeping, modern beekeeping, products extracted from the hive, life within the colony... At the Asturias People’s Museum in Gijón, there is also a collection of objects related to traditional beekeeping: hives of different types, honeycomb cutters, smokers, containers for storing honey, and wax presses.</text>
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          </elementTextContainer>
        </element>
        <element elementId="292">
          <name>Artefacts</name>
          <description/>
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                <text>Avila, J. (2022). Los otros apicultores de Taramundi (Asturias). Vida apícola: revista de apicultura, (232), 58-61.&#13;
Copena, D.(2023). Abejas melíferas y comunidades rurales: una caracterización de los principales elementos patrimoniales en Galicia y Asturias. Cuadiernu: Revista internacional de patrimonio, museología social, memoria y territorio, (11), 121-146.&#13;
Díaz, E. y J. Naves (2010). Los colmenares tradicionales del noroeste de España. AÇAFA On Line 3: 1-37.&#13;
López, X. (1994). Las abejas, la miel y la cera en la sociedad tradicional asturiana. Real Instituto de Estudios Asturianos.&#13;
López, J (2022). Arqueología de la apicultura en la Asturias preindustrial. New Approaches to the Archaeology of Beekeeping, 216.</text>
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          <name>Context</name>
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          <elementTextContainer>
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              <text>Robertsen, Kjersti</text>
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          <elementTextContainer>
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              <text>How much or little to process the reindeer skin for the wanted finished product.</text>
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          <name>Knowledge Transfer</name>
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              <text>Ramavuolle/Reinåsen, Tjeldsund, Troms, Norge</text>
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              <text>"Markasamisk"/ Sámi village </text>
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          <name>External ID</name>
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                <text>lofotenmap</text>
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                <text>Fjerning av kjøtt, fett og hinner på reinskinn med elektrisk skrutrekker med pusseball</text>
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                <text>13/10/2025</text>
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                <text>University of St Andrews</text>
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                <text>MN_CP_10(01)</text>
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            <description>A legal document giving official permission to do something with the resource.</description>
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                <text>Creative Commons Attribution-ShareAlike License</text>
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              <description>A name given to the resource</description>
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                <elementText elementTextId="51">
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              <name>Identifier</name>
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          <description/>
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            <elementText elementTextId="22890">
              <text>Boatbuilding and fisheries has a long tradition i Norway. These craftmanship traditions are closely connected to oral traditions and to eachother.</text>
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          <name>Field Worker</name>
          <description/>
          <elementTextContainer>
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              <text>Julie Therese Sæther</text>
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          </elementTextContainer>
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          <name>Economic Threats</name>
          <description/>
          <elementTextContainer>
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        <element elementId="192">
          <name>Technological Threats</name>
          <description/>
          <elementTextContainer>
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          </elementTextContainer>
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        <element elementId="193">
          <name>Policy Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="22895">
              <text>Educational standardisation</text>
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        <element elementId="194">
          <name>Conflicts</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="22896">
              <text>Outbreak of war or armed conflict</text>
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          </elementTextContainer>
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        <element elementId="195">
          <name>Demographic Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="22897">
              <text>Rural-urban migration</text>
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="22898">
              <text>Misappropriation</text>
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        <element elementId="197">
          <name>Globalisation</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="22899">
              <text>Rapid sociocultural change</text>
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          </elementTextContainer>
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        <element elementId="198">
          <name>Weakened Practice</name>
          <description/>
          <elementTextContainer>
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              <text>Aged practitioners,Diminishing youth interest</text>
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        <element elementId="199">
          <name>Loss Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="22901">
              <text>Loss of knowledge</text>
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          </elementTextContainer>
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        <element elementId="201">
          <name>SDG</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="22902">
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        </element>
        <element elementId="187">
          <name>External ID</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="22903">
              <text>MN_CP_09</text>
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          <name>Knowledge</name>
          <description/>
          <elementTextContainer>
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              <text>You have to have deep knowledge of the material and know which material to choose and how to make it function in the best possible way. You also have to know of the oral traditions among the fishermen and their experience with the boats.</text>
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          </elementTextContainer>
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        <element elementId="230">
          <name>Knowledge Transfer</name>
          <description/>
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              <text>There is one school in Fredrikstad that has the boat building education. But to learn it proparly you have to do it, you have to be an apprentice (lærling).</text>
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          <name>Practitioners</name>
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              <text>There are only men working at the workshop in Sørvågen, and there are mostly fishermen i Norway, but a few women choose this occupation to.</text>
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          <name>Function</name>
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              <text>The practice is very important and have a high standing in the fishermen community. The practice is a kulturbærer - culture carrier.</text>
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          <name>Origins and change</name>
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              <text>The oldest boat in Øksnes is from the Ironage. That boat is somewhat of a hybrid. It has been sown and klink built. That means that both sami traditions and the norse tradition is used on the same boat. Øksnes has been a sami hub for a long time, you can also find the sami presence in the the names of places, such as Navarsborr.</text>
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          <description/>
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              <text>Norsk fartøyvernsenter and Riksantikvaren</text>
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        <element elementId="280">
          <name>Places</name>
          <description/>
          <elementTextContainer>
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              <text>For example Saltdal and Beiarn and Namdalen. It is places that has forest.</text>
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          <name>Artefacts</name>
          <description/>
          <elementTextContainer>
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              <text>Hammer, sander and plane</text>
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          <name>State of the practice</name>
          <description/>
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              <text>endangered</text>
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        <element elementId="293">
          <name>Social sustainability</name>
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        <element elementId="294">
          <name>Environmental sustainability</name>
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              <text>Refurbishment of old objects and reuse of material is sustainable (bærekraftig)</text>
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        <element elementId="295">
          <name>Economic sustainability</name>
          <description/>
          <elementTextContainer>
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              <text>Yes it contributes to the ecomony of Øksnes municiplality, by paying taxes and creating jobs for locals.</text>
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          <name>Place</name>
          <description>The town or city</description>
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        <element elementId="291">
          <name>Place Description</name>
          <description/>
          <elementTextContainer>
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              <text>People in Øksnes municipality has traditionally been fishermen and farmers. Øksnes is based in the north of Langøya. There has been several small fishingvillages and today the main village is Myre. The base for the community is still fisheries.</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Boat building , repair and refurbishment</text>
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            <name>Type</name>
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            <description>An account of the resource</description>
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                <text>To build wooden boats was a skill lots of people knew in the old days, and everybody who owned a wooden boat had to know a little bit about how to repair it and mend it. Now this commom knowledge is gone bacause the use of the boats are gone. Yngve Ingebrigtsen was one of the last students that learnt how to build wooden boats. But he has never built boats in his occupation. He has worked in the workshop in Sørvågen mainly mending boats and refurbished them. But to do that you have to know how they are built. He has dream though of one day building his own boat. He knows exactly how it should be. There is an oral tradtion that is connected to the wooden boat that the fishermen have learned by experience. This is very valuable knowledge that is not written down. Learning by doing.</text>
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                <text>BÅTBYGGER - PLUS SKOLEN</text>
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                <text>Julie Therese Sæther and Ingrid Elstad</text>
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              <text>The tecnic smocking (vaffelsøm) stems from the middleages, and havent changed much. The needles may have changed a bit, they are smaller and thinner now.</text>
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              <text>With more funding she could have had more exhibitions and maybe taken in apprentices and opend a workshop outside of her home.</text>
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              <text>I dont know if any of these fit. She is not involved in industrial production, she is not looking for new technologies and she uses "old" materials such as wool and silk.</text>
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                <text>Ingrid Larssen is an artist that lives in Stokmarknes. She is using smocking as her main technique (vaffelsøm). She uses it in different sizes, and she makes small broches and big decorations that can hang on a wall. Her main material is wool, silk, thread and seaweed.</text>
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                <text>Norway</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="1739" public="1" featured="0">
    <itemType itemTypeId="15">
      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
      <elementContainer>
        <element elementId="130">
          <name>Prim Media</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="22610">
              <text>1737</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="132">
          <name>Material</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="22612">
              <text>The boat is made of wood and metal</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="189">
          <name>Natural Cultural</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="22614">
              <text>Cultural</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="223">
          <name>Function</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="22615">
              <text>The function of the object is as a fishingboat.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="224">
          <name>Creation Purpose</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="22616">
              <text>The purpose of production is to use it in fisheries.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="225">
          <name>Technique</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="22617">
              <text>The boat is kravell built, that means that the planks lie on top of eachother in opposed to klink built where the plank lie over eachother. They have hemp in between the planks to make the hull tighter.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="226">
          <name>Material Source</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="22618">
              <text>The wood is from the forests of Namdalens.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="227">
          <name>Conecept</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="22619">
              <text>The boat is closely connected to cultural practices and local customs in the north norwegian fisheries. This boat also is special as it was in the resistence during WWII. And it refused to sink. Every fisherman has a close realtionship with their boats. Now the era of the wooden boats in fisheries are over and one can get emotional over how good those boats were. </text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="228">
          <name>Production Quality</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="22620">
              <text>A boat is a very large unit and it takes time to build it, and every object is unike. On the other there has been produced a lot of these boat, but I dont think you can call it massproduction.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="187">
          <name>External ID</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="22621">
              <text>MN_AR_20</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="236">
          <name>Field Worker</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="22622">
              <text>Julie Therese Sæther</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="274">
          <name>Craft</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="22624">
              <text>woodwork,metalwork</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="275">
          <name>Tool</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="22625">
              <text>Hammers, planes og sanders.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="155">
          <name>Place</name>
          <description>The town or city</description>
          <elementTextContainer>
            <elementText elementTextId="22626">
              <text>Sørvågen, Alsvåg, Øksnes municipality</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="22601">
                <text>The boat is called Lykken (Happiness). It was build as a fishingboat in 1939.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="22602">
                <text>Physical Object</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="22603">
                <text>The boat is called Lykken (Happiness). It was build as a fishingboat in 1939. It is 11,44 m long (37 fots krysser) It is a covered boat, that means if the water comes over it, it will not take in water. The bridge (styrhuset) is in the back of the boat. Under deck there is a cargoroom in the middle of the boat and cabins in front. During WWII the boat was used in sending refugees out of Norway.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="22604">
                <text>1939</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="22607">
                <text>iain</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="22608">
                <text>712</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="22609">
                <text>craftedobjects,lofotenmap</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="75">
            <name>References</name>
            <description>A related resource that is referenced, cited, or otherwise pointed to by the described resource.</description>
            <elementTextContainer>
              <elementText elementTextId="22611">
                <text>Historie: M/KR Lykken – Øksnes kystlag&#13;
Lykken - Norsk fartøyvern&#13;
MK «Lykken» – Wikipedia</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="59">
            <name>Date Submitted</name>
            <description>Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal).</description>
            <elementTextContainer>
              <elementText elementTextId="22613">
                <text>30/09/2025</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="52">
            <name>Alternative Title</name>
            <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
            <elementTextContainer>
              <elementText elementTextId="22623">
                <text>Wooden boat (fiskeskøyte)</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="61">
            <name>Date Modified</name>
            <description>Date on which the resource was changed.</description>
            <elementTextContainer>
              <elementText elementTextId="29002">
                <text>06/04/2026</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
      <elementSet elementSetId="4">
        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
        <elementContainer>
          <element elementId="100">
            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="22605">
                <text>TEXT</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
</itemContainer>
