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            <name>Date</name>
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https://www.patrimoniocultural.gov.pt/wp-content/uploads/2025/01/Ficha-MatrizPCI.pdf</text>
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                <text>Púcaro</text>
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        <element elementId="262">
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              <text>So that he doesn't stop doing what he likes.</text>
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        <element elementId="266">
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          <name>products7</name>
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          <name>partnership</name>
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            <name>Language</name>
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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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                <text>TEXT</text>
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            <name>Country</name>
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                <text>Eduardo Coelho</text>
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                <text>Eesti Pärimusmuusika Keskus</text>
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                <text>The NGO Estonian Traditional Music Center is a nationwide, non-governmental organization that supports and organizes traditional music education and promotes the live performance of traditional music in an open and innovative manner. The Estonian Traditional Music Center serves as a partner of the University of Tartu Viljandi Culture Academy's music department and information center for music schools, civic associations, traditional music ensembles, folklore groups, individual musicians, and traditional music enthusiasts in Estonia. Traditional Music Center organizes one of the biggest folk and world music festival in Baltics - Viljandi Folk Music Festival at the end of July, visited by 25 000 people every year and presenting more than 50 artist from all over the world. Since the spring of 2008, the Estonian Traditional Music Center has been operating in the beautifully renovated old granary of the Viljandi Manor, located in the Viljandi Castle Hills, where year-round concerts are held. The center also operates a training center and houses a traditional music information collection.</text>
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                <text>Creative Commons Attribution-ShareAlike License</text>
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            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
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            <name>Object</name>
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                <text>https://openvirtualworlds.viewin360.co/share/collection/7HzZJ?logo=0&amp;amp;info=0&amp;amp;fs=1&amp;amp;vr=1&amp;amp;sd=1&amp;amp;initload=0&amp;amp;thumbs=1</text>
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                <text> Marlén, biodigital architect and Manuel, biodigital designer and craftsman, make up the Laboratorio Biomimético, a project based on biomimesis, that is, on the attentive observation of nature, directly through field trips, or indirectly, with readings and documentaries. Through this observation and profound understanding, they seek to implement the solutions of nature, a designer with thousands of years of experience, to human challenges. One of the areas of the laboratory is ARBIO, dedicated to the production of biodegradable fabrics that the made by kÖs firm of Constantino and Yolanda uses to make some of its pieces. This collaboration is part of the key points of the lab, which seeks synergies with designers, experts, researchers, and the community in general. Constantino learned to sew with his mother and later trained in Fashion and Clothing. Inspired by his research and interest in textile history and historical recreation, he established the made by kÖs brand in 2013, combining traditional inspiration with contemporary designs, after a work of reproducing old pieces based on paintings and photographs with traditional scenes, especially from the 19th century. After a few years, Yolanda joined, who also began sewing with her mother, as well as with her grandmother and her aunts. She is in charge of reproducing the &#13;
pieces based on Constantino’s model, as well as the more business work, related to suppliers and orders. Her line of garments, with very selected projects, are produced on a small scale and locally, proposing pieces inspired by rural areas, village life and traditional clothing, incorporating current elements to give rise to handmade designer pieces</text>
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              <text>One of the artisans recounts that there are ballads dedicated to the trapadoiro, which is one of the tools used to shape the mouths of the vessels. Vessels are crafted in connection with other traditional cultural practices of Asturias, such as cheese-making or cider culture.</text>
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              <text>Those corresponding to the ceramic creation. Knowledge of clay extraction sites. Treatment of clay, modelling and potter's wheel. Surface treatment and firing of pottery.</text>
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              <text>Nowadays, only one potter's workshop remains in Faro, that of José Manuel Vega ‘Selito’, the last of a potter's lineage that dates back to the Middle Ages. For years "Selito" has had an apprentice, Orlando Moran, who today has the skills to make this ceramic tradition. Since 2022, a potter, Verónica Rodriguez, from another part of Asturias, has moved to Faro. Although her knowledge of pottery comes from the ceramic tradition of Llamas del Mouro, she has learned to make traditional Faro's pottery. The potter who is currently passing on the knowledge about the manufacture of traditional Faro´s pottery is Orlando Moran, who works in an arts and crafts school.</text>
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              <text>José Manuel Vega 'Selito' was active until the year 2024.Currently the artisans are Fernando Morán and Verónica Rodriguez,  Orlando is the heir to the knowledge of the last potter "Selito," who also passes on this legacy at a municipal arts school, while Verónica is a new potter in this tradition who, in addition to creating her own space in Faro, shares her knowledge through workshops.</text>
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              <text>Faro is a ceramic production center in Asturias, whose activity has been documented since the Middle Ages. Archaeological evidence confirms pottery production in this village dating back at least to the 11th century. Faro is frequently mentioned in medieval Asturian documents. In the 12th century, the following words are found: iuxta Ovetum, in villa pernominta Faro. The first reference to Faro's pottery industry dates back to the early 16th century (1519).&#13;
&#13;
The Marquis of Ensenada's cadastral survey (conducted in the territories of the Crown of Castile to understand, register, and evaluate assets) reports 72 potters, which highlights the significance of Faro in this industry and its productivity in the 18th century. The type of wheel used in Faro until the 20th century was the low or hand wheel, until José Vega "Lito" introduced the foot-operated wheel. This advancement led to an increase in production.&#13;
&#13;
The kiln used is the "open kiln." It consists of two parts: the firing chamber, where the pieces are stacked, and a boiler in which the fuel is placed; in this case, "rozu" (a type of fuel). Once the kiln is filled with ceramic pieces, the top is covered with "tapines," pieces of earth with green grass. The earth is placed facing inward, and broken tiles are used to form the chimney. In the past, firewood was the fuel for these kilns, but today propane gas is used.</text>
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              <text>Xunta pola defensa de la Alfarería Tradicional de Faro and "Asociación de Amigos de la Alfarería de Faro". There is a conflict between both associations, as the Xunta advocates for the faithful maintenance of methods, techniques, forms, and decorations of this ceramic tradition.</text>
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              <text>In the same village of Faro, there are archaeological sites associated with pottery making, including remnants of kilns, workshops, and clay extraction areas. The house and workshop, which includes a traditional kiln, of the Vega family (Faro de Arriba) is listed in the Inventory of Asturias' Cultural Heritage. Unfortunately, part of this workshop was damaged by a fire in December 2023.</text>
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              <text>Regarding those related to manufacturing, they are: a foot-operated lathe, a thread cutter, a trapadoiro (leather cloth), tools specific to pottery (small wooden tools, a knife, and an awl). For glazed ceramics, a pisón was used (a stone with a hole in the center serving as a mortar to crush lead with tin and sand, creating the mixture for white glaze or tin-glazed coating), along with a brush to apply pigments. As for the types of vessels, they include: the "barbón" (with three handles), the "penada" (a water pitcher), the jug — "xarra" for cider, the cheese maker, and the casserole dish. In glazed ceramics, there are also plates, bowls, water jugs — "xarru," chamber pots, and two vessels shaped like a rooster and a hen.</text>
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              <text>The pottery workshop of "Selito" in Faro suffered a fire in 2023.</text>
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              <text>Lack of understanding between the two associations that defend the traditional pottery of Faro. Changes in political parties have caused ongoing projects related to the creation of a center for the interpretation of Faro's traditional pottery to be delayed or halted. There is also a lack of mediation tools in these conflicts.</text>
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              <text>On one hand, during the 1960s, there was large-scale migration from the countryside to the city, which caused the rural population to decrease significantly. On the other hand, Faro's proximity to the city of Oviedo has turned this area into a commuter town, inhabited by people with no familial ties to the rural area.</text>
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              <text>For various historical reasons, such as migration to the city or the emergence of household items made from other materials, ceramic vessels stopped being produced. Today, only two people continue practicing this pottery, and younger generations show no interest in learning. All of this has led to a decline in production over the years.</text>
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              <text>The pottery workshop of "Selito" in Faro suffered a fire in 2023. Faro's proximity to the city of Oviedo has turned this area into a commuter town, inhabited by people with no familial ties to the rural area.</text>
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              <text>Currently, production is in decline. On a positive note, a new female artisan has established a workshop in the area, where she conducts workshops for the community. This represents a boost for the cultural revitalization of this rural region.</text>
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        <element elementId="294">
          <name>Environmental sustainability</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9186">
              <text>This cultural practice does not involve pollution</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="295">
          <name>Economic sustainability</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9187">
              <text>Not actually.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="155">
          <name>Place</name>
          <description>The town or city</description>
          <elementTextContainer>
            <elementText elementTextId="9188">
              <text>Faro, Oviedo, Asturias, Spain</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="291">
          <name>Place Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9189">
              <text>Faro is a small village of some 200 inhabitants in the Parroquia de Limanes, belonging to the Asturian municipality of Oviedo, a city from which it is only eight kilometres away.  It was during the Middle Ages that the place became important due to its strategic location at the crossroads of communication routes and its dependence on the great monastery of San Pelayo. It was also during this period that its pottery activity, for which it is well known, began to emerge. Nowadays, together with a small agricultural and animal husbandry activity, Faro is fundamentally a residential area.</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="9151">
                <text>Faro's pottery</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="51">
            <name>Type</name>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
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                <text>There are two types of pottery: black pottery, obtained by reducing iron-rich clay, which has been documented since the 11th century in various closed forms (puchero, barbón, penada, cider jug...), and glazed and enamelled pottery, which appears from the 13th century (escudilla, plate, jug, botijo...). The latter has the peculiarity of having two firings, the second one to fix the glaze and the paint, with geometric, vegetal and zoomorphic decorations, the most singular being the páxara, the most representative colours being green and yellow.&#13;
The 18th century was the time of greatest splendour, with more than 70 potters. The arrival of earthenware would gradually lead to a decline in activity, until the only pottery workshop that has survived since the middle of the 20th century, making pieces in the same way as they were made in the Middle Ages.</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">
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                <text>iain</text>
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            <elementTextContainer>
              <elementText elementTextId="9158">
                <text>406</text>
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            <name>References</name>
            <description>A related resource that is referenced, cited, or otherwise pointed to by the described resource.</description>
            <elementTextContainer>
              <elementText elementTextId="9159">
                <text>de Aldecoa, E. I. (1985). La cerámica vidriada de Faro: motivos decorativos. Liño: Revista anual de historia del arte, (5), 235-246. Busto, M. (2021). Sistematización arqueológica de las producciones de cerámica esmaltada y vidriada de Faro de Liminas (Astrurias, España) desde el siglo XVI al XVIII. Jaén: UJA Editorial. Menéndez, J. J. A. (1997). Un ejemplo de continuidad en la producción de ceràmica desde la Edad Media al siglo XX: Faro (Asturies-España). Olaria: Estudos Arqueológicos, Históricos e Etnológicos, (2), 93-100. https://www.youtube.com/watch?v=I_FpkQ5c6jM https://www.google.com/search?q=videos+taller+de+faro+ceramica&amp;rlz=1C1RLNS_esES958ES961</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="9160">
                <text>18/06/2025</text>
              </elementText>
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          <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="9161">
                <text>Alfarería de Faro</text>
              </elementText>
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          <element elementId="81">
            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="9190">
                <text>current,43.355833,-5.794167;</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="9193">
                <text>681</text>
              </elementText>
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          <element elementId="61">
            <name>Date Modified</name>
            <description>Date on which the resource was changed.</description>
            <elementTextContainer>
              <elementText elementTextId="9194">
                <text>18/06/2025</text>
              </elementText>
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          </element>
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        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
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          <element elementId="100">
            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="9154">
                <text>TEXT</text>
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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="9195">
                <text>University of St Andrews</text>
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  <item itemId="1640" public="1" featured="1">
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      <name>Artisan</name>
      <description>An artisan</description>
      <elementContainer>
        <element elementId="175">
          <name>Author</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21603">
              <text>iain</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="153">
          <name>Phone</name>
          <description>The phone number</description>
          <elementTextContainer>
            <elementText elementTextId="21606">
              <text>Spanish phone code: 34 / 682 01 14 91</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="130">
          <name>Prim Media</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21609">
              <text>1617</text>
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          </elementTextContainer>
        </element>
        <element elementId="35">
          <name>Biographical Text</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21610">
              <text>Faustino Álvarez Álvarez, is a rural dweller who dedicated himself to the construction of stone walls, especially in villages and along roadsides. When he was a child, he learned to make baskets with the older adults in his village, but he never dedicated himself to being a basket maker or to making a living from the craft, since he had another job and his responsibility in the fields of his home. However, when he turned 65 years old, he retired and in the free time that his retirement offered him, he decided to take up traditional basket weaving and some carpentry work. She began to make all kinds of baskets (some of them highly complex) and other products that can be made with the same weaving technique with natural fibers, such as lampshades, napkin holders, home decorations, etc. Although Faustino is a skilled artisan with a remarkable talent for traditional basketry, he has never sold his pieces (he gives them as gifts to family or friends), he has not had the intention of making a business or giving basketry classes.</text>
            </elementText>
          </elementTextContainer>
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        <element elementId="187">
          <name>External ID</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21611">
              <text>LAPONTE_PR_10</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="229">
          <name>Knowledge Acquisition</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21612">
              <text>Faustino learned to make baskets when he was a child, around 7 years old. In the village where he lived, he would approach the elders who made baskets, and they taught him.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="230">
          <name>Knowledge Transfer</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21613">
              <text>No, the artisan has never taught classes nor had apprentices. He mentions that this is because he did not make basketry his profession; he did not dedicate himself fully to it. Throughout his life, he had other jobs and worked mainly in the construction sector (building roads and walls).</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="236">
          <name>Field Worker</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21614">
              <text>Sofía Gonzalez Sandoval</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="247">
          <name>Gender</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21615">
              <text>male</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="248">
          <name>Area Relation</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21616">
              <text>incomer</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="249">
          <name>Area Reason</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21617">
              <text>Currently the artisan Faustino lives in the village of Lavares in the council of Santo Adriano. He was not born in that village but moved there 5 years ago when he started his retirement.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="34">
          <name>Occupation</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21618">
              <text>other (specify),other (specify)</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="250">
          <name>Involvment</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21619">
              <text>hobby</text>
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        </element>
        <element elementId="251">
          <name>knowledge1</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21620">
              <text>According to the artisan, basketry is an activity accessible to everyone since it is very affordalbe, easy to learn, and useful for many aspects of daily life; all that is needed are one’s hands and patience to learn. This is why basketry is "one of the oldest crafts in history and found all over the world". An important requirement, according to the artisan, is to be careful and responsible with the environment when obtaining raw materials. Natural cycles must be respected so that the different types of plants can regenerate.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="252">
          <name>material1</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21621">
              <text>He uses natural plants to obtain the rods for making the baskets. Mainly “San juaninos” a plant that is very easy to find in Asturias (Ligustrum vulgare), and wicker/willow (Salix viminalis).</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="253">
          <name>material2</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21622">
              <text>These plants are very abundant in the local area (municipality of Santo Adriano, Asturias), and thanks to their abundance, Faustino is able to source all his raw materials locally. The willow for example grows on the banks of rivers, in this case the Trubia river in Santo Adriano.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="254">
          <name>material3</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21623">
              <text>During the basket-making process, there is no waste or pollution for the following reasons: - It is a very small-scale production, so raw materials are obtained in a controlled and responsible manner. - The production of baskets does not involve the use of any chemicals or artificial elements. It is 100% organic. - Leftover branches and leaves are used as compost for the artisan's agricultural activities and as firewood to heat his house in winter.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="255">
          <name>production1</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21624">
              <text>The artisan did not mention a specific name for his weaving techniques. He talks more about the series of steps that each level of difficulty involves, but did not give a specific name.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="256">
          <name>production2</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21625">
              <text>He mainly uses his hands, a penknife, a pair of garden shears to cut branches, and a pair of wooden tweezers that he made himself to clean the sticks (he removes the leaves from the sticks and the first layer of bark to give the wood a different color).</text>
            </elementText>
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        <element elementId="257">
          <name>production3</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21626">
              <text>For him, it is very important to be in good health so that he can continue to use his hands. During the workshop, Faustino mentioned that sometimes his hands fail him (he feels pain and numbness) and he loses some mobility as a result. According to him, this is due to his age (70 years old), something that cannot be helped since “there is no cure for aging”, as he says. For an artisan, their hands are their most essential tools, and in the case of older artisans, declining health is an important factor to consider in terms of their motivation/energy to work. In addition, depending on their own bodies to be able to do their job is something that has an emotional impact on artisans as time passes and their bodies change.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="258">
          <name>production4</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21627">
              <text>None.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="259">
          <name>production5</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21628">
              <text>The only leftovers are branches and leaves. Faustino uses the leaves for compost in his garden and then dries the branches to use them in winter to heat his house (they are burned in the fireplace).</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="260">
          <name>workshop</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21629">
              <text>No. The artisan works at home, and mentions that he would not like to work in a workshop, with a group of people, or anywhere else because he likes the silence and peace he has at home. He also mentioned that basket weaving does not require equipment or a workshop. He simply sits on a log that he uses as a stool and begins to weave.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="261">
          <name>products1</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21630">
              <text>He mainly makes baskets of different sizes and designs, but he has also made lampshades, containers, napkin holders, fruit bowls, and home decorations. He also enjoys experimenting with carpentry, making simple furniture (chairs, benches, etc.) and wooden utensils (cooking spatulas, wooden spoons, etc.).</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="262">
          <name>products2</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21631">
              <text>Faustino currently dedicates himself to basket weaving as a hobby, since he recently retired and is looking for a productive way to use his time. Everything he produces is done out of love for the craft and with the intention of keeping the knowledge alive. He has never sold his pieces, but instead gives them as gifts to family and close friends.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="263">
          <name>products3</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21632">
              <text>His products are not for sale.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="264">
          <name>products4</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21633">
              <text>None.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="265">
          <name>products5</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21634">
              <text>No.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="266">
          <name>products6</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21635">
              <text>N/A.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="267">
          <name>products7</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21636">
              <text>None.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="268">
          <name>tourism1</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21637">
              <text>No.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="269">
          <name>tourism2</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21638">
              <text>Quote: "Nunca pensé en involucrarme en el turismo... nunca pensé en dedicarme a la cestería, Surgió solo así."</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="270">
          <name>partnership</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21639">
              <text>No.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="271">
          <name>challenges1</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21640">
              <text>According to Faustino, there are no significant obstacles to basket weaving, as the material is abundant, easy to find (there are alternatives with different plant species), and therefore inexpensive. Nor is it necessary to have a studio or equipped workshop, and it is not necessary to buy many tools. The few tools he has are also affordable. During the basketry workshop, Faustino mentioned that the biggest challenge for craftsmanship in rural areas is the transmission of knowledge: in Spain, it is difficult to find apprentices or young people interested in learning craft skills, especially due to depopulation and abandonment of rural areas.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="272">
          <name>challenges2</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="21641">
              <text>"No, la cestería no te da problema ninguno. No contaminas nada y no necesitas cortar árboles ni nada de eso. Puedes tejer donde quieras y no necesitas herramientas o muchas cosas."</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="108">
          <name>Wiki</name>
          <description>A link to a wiki entry about this item.</description>
          <elementTextContainer>
            <elementText elementTextId="21643">
              <text>https://culturality.museum/wiki/index.php/Faustino_Álvarez_Álvarez</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
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      <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="21594">
                <text>Faustino Álvarez Álvarez</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="21595">
                <text>Artisan</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="21597">
                <text>1955 / 70 years old</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="21600">
                <text>Asturian,Spanish</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="21602">
                <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="21607">
                <text>673</text>
              </elementText>
            </elementTextContainer>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="21608">
                <text>artisans,asturiasmap</text>
              </elementText>
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          </element>
          <element elementId="81">
            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="21642">
                <text>current,43.2852,-5.9837;</text>
              </elementText>
            </elementTextContainer>
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        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
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          <element elementId="100">
            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="21598">
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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>
            <elementTextContainer>
              <elementText elementTextId="21599">
                <text>Spain</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="93">
            <name>Europeana Data Provider</name>
            <description>The name or identifier of the organisation that contributes data to Europeana.</description>
            <elementTextContainer>
              <elementText elementTextId="21605">
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              <text>Atelje Amuse</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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            <name>Type</name>
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            <name>Description</name>
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                <text>This is a sweater in crafted in wet-felting technique, created entirely from a single piece of felt. The seamless construction demonstrates a high level of expertise in both felting and garment shaping, as the entire form is sculpted during the felting process rather than being cut and stitched together. </text>
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            <name>Date</name>
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                <text>2016</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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            <name>Language</name>
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                <text>Slovene</text>
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            <name>Subject</name>
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                <text>Fashion</text>
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                <text>cc274@st-andrews.ac.uk</text>
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                <text>28/05/2025</text>
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            <name>Object</name>
            <description>The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy.</description>
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                <text>http://www.amuse.si/my-story.html</text>
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      <name>Physical Object</name>
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          <name>Material</name>
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              <text>Sweater is made from wool</text>
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              <text>The jacket was a prototype, a test piece. </text>
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              <text>The sweater was made using the wet felting technique. Creating a seamless felted garment of this quality demands advanced knowledge of textile construction, fiber behavior, and shrinkage ratios, as wool can shrink up to 40% during the felting process. The mastery of this technique allows the artisan to craft a fully functional, form-fitting piece that is both durable and comfortable to wear.</text>
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          <name>Material Source</name>
          <description/>
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              <text>The craftwoman who made the jacket sources her materials mainly from Italy.</text>
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              <text>Anja Musek says that her medium of expression is wool, and that she finds inspiration mainly in nature. Škofja Loka was also known for hatmaking, where the knowledge of wet felting was used by hatters to make the bases for their hats. </text>
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          <name>External ID</name>
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              <text>ZRCSAZU_AR_02</text>
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          <name>Field Worker</name>
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              <text>Katarina Šrimpf Vendramin, Saša Poljak Istenič</text>
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              <text>The sweater was made by hand, with the help of a rubber mat, smoothing tool, soap and water. </text>
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          <name>Place</name>
          <description>The town or city</description>
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              <text>Škofja Loka, Gorenjska, Slovenia</text>
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          <name>Wiki</name>
          <description>A link to a wiki entry about this item.</description>
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            <elementText elementTextId="18485">
              <text>https://culturality.museum/wiki/index.php/Felted_sweater</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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            <description>An account of the resource</description>
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                <text>This is a sweater in crafted in wet-felting technique, created entirely from a single piece of felt. The seamless construction demonstrates a high level of expertise in both felting and garment shaping, as the entire form is sculpted during the felting process rather than being cut and stitched together. The sweater </text>
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                <text>2016</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Slovene</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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                <text>iain</text>
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            <name>Identifier</name>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>uppercarniola</text>
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            <name>References</name>
            <description>A related resource that is referenced, cited, or otherwise pointed to by the described resource.</description>
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                <text>http://www.amuse.si/my-story.html&#13;
https://www.centerduo.eu/kreativnice/anja-musek/&#13;
https://365.rtvslo.si/arhiv/vizionar-obrtnik-in-podjetnik/175079215&#13;
https://www.ra-sora.si/razstava-anja-musek-amuse/</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="18470">
                <text>02/09/2025</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>
            <elementTextContainer>
              <elementText elementTextId="18480">
                <text>Filcana pulover</text>
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            <description>Spatial characteristics of the resource.</description>
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        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
        <elementContainer>
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            <description>The Europeana material type of the resource.</description>
            <elementTextContainer>
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        <element elementId="187">
          <name>External ID</name>
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            <elementText elementTextId="32079">
              <text>ZRCSAZU_AR_02(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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                <text>Felted sweater</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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              <elementText elementTextId="27095">
                <text>2025-02-13</text>
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            <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 elementId="99">
            <name>Europeana Rights</name>
            <description>Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal.</description>
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                <text>Manca Filak</text>
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            <description>The name of the country of the data provider or “Europe” in the case of Europe-wide projects.</description>
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  <item itemId="732" public="1" featured="0">
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              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
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                  <text>Museum: University of St Andrews</text>
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              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
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          <name>Context</name>
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              <text>The technique similarly uses the qualities of wool as in fulling woven fabric (in Sweden usually vadmal/wadmal) in mills or manually with or without chemical agents.</text>
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          <name>Field Worker</name>
          <description/>
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              <text>Ulrika Jäger, Kajsa Stinnerbom</text>
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        <element elementId="191">
          <name>Economic Threats</name>
          <description/>
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              <text>Insufficient renumeration</text>
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          </elementTextContainer>
        </element>
        <element elementId="192">
          <name>Technological Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9639">
              <text>Use of modern materials</text>
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          </elementTextContainer>
        </element>
        <element elementId="200">
          <name>Climate Actions</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9640">
              <text>Infrastructure Development,Research,Collaboration with other organisations ,Governance management and green policies</text>
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          </elementTextContainer>
        </element>
        <element elementId="201">
          <name>SDG</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9641">
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          </elementTextContainer>
        </element>
        <element elementId="187">
          <name>External ID</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9642">
              <text>RV_CP_02</text>
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        <element elementId="276">
          <name>Knowledge</name>
          <description/>
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              <text>Knowledge of wool, and how to handle and process wool - from carding to felting to finished product.</text>
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        </element>
        <element elementId="230">
          <name>Knowledge Transfer</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9644">
              <text>It's possible to learn from courses, during textile educations, but also from doing not-on site courses, through video online and litterature - provided that you try it and practice.</text>
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        <element elementId="277">
          <name>Practitioners</name>
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              <text>It's a female dominated crafting technique. It's connected to the rural areas where the sheep and wool have been naturally more accessible. Felting is quite popular, and there's also carded wool and coloured wool in hobby stores in Sweden to purchase.</text>
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          </elementTextContainer>
        </element>
        <element elementId="223">
          <name>Function</name>
          <description/>
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            <elementText elementTextId="9646">
              <text>Haglund has taugh felting for all children in year 4 (ages 10) in the town of Kil. What the children have made will be shown at the Fårfest event in Kil. Felting is a quite common activity at preschools and primary schools, usually the "tovning".</text>
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        <element elementId="278">
          <name>Origins and change</name>
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              <text>Haglund explaines that the type of wool carpets that she produces are manufactured and used in Kyrgystan, where the wool mats are used in jurts. Haglund first used her woodenrod jalousie when wet felting which she has now replaced with bubble wrap. She thinks that bubble wrap gives a smoother texture. It's also to be said that Haglund's husband has made her a machine that felts larger objects such as carpets, and is powered by human labour.</text>
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        </element>
        <element elementId="279">
          <name>Organisations</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9648">
              <text>FÅReningen, the sheep association (a non-profit association involved in all fields associated with sheep - crafts, husbandry, food) is a given organisation which gathers members who are involved with wool production and interests in quality. In Värmland there's also a folk high school (vocational adult education) with a course called "Ullakademin", the wool academy, which is a local, but of interest nationally, school in the art of felting. </text>
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              <text>Fårfesten in Kil: farfestikil.com</text>
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              <text>Commonly clothes such as mittens, slippers, hats. Also items for the house such as seating, cushions, carpets. Artefacts of arts and crafts, and applied arts.</text>
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              <text>Haglund produces her products fully in wool. The sheep keeping and wool production of Sweden have been greatly diminished, which has led to a lot of wool that could have been used have been wasted or burnt. To produce in wool nationally and use Swedish wool is a great use of a ethical, non-hazardous, traditional and culturally important fiber that is accessible.</text>
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          <name>Economic sustainability</name>
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              <text>Like written above about the enviormental goals.</text>
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              <text>Skacksjö 13, Östra Ämtervik, Sweden</text>
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              <text>Östra Ämtervik is characteristic rural Swedish countryside where farmers have used the land for crops and husbandry. It’s a area which have been affected by the close by are of Nobel laureate in literature 1909 Selma Lagerlöf’s mansion Mårbacka situated in the area which have attracted cultural and international visitors, as well as the art museum Alma Löv. Residents of Östra Ämtervik commute for work to towns and citys nearby. The landscape is made up of fields, forests, farms and villas. Many keep livestock for a small scale self-sustainable lifestyle or grow crops or hunt wildlife for meat. Many artisans and culture practitioners live in the area. It's situated between lake Mellanfryken and Visten in Sunne Municipality, which has got about 13.000 inhabitants. Östra Ämtervik is an area of about 800 people.</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Felting is a technique of joining fibers together. It can be done dry or wet, and Carina Haglund uses wet felting. In Swedish there are two different words usually used for felting: “tovning” which is most used, or “filtning”. “Tovning” can also be translated to roughly “tangling [of fibers]”, whereas “filtning” has the same etymology root as “felt” in English. Filtning (or felting in English) is done wet, and Haglund expresses that she rather presents what she makes in her studio as filtning, rather than tovning.</text>
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                <text>Tova- gammal teknik på nytt sätt. Gunilla Paetau Sjöberg Får boken- Anders Jansson, Nina Östman Felt passion- Ellen Bakker, RIchard Assman Att välja färg- Berit Bergström</text>
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            <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
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                <text>Tovning/filtning</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/>
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          <name>Creation Purpose</name>
          <description/>
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              <text>The craftsman produces these objects to improve his technique, and as a piece of art. He keeps the production for his collection, gives it as a gift or sells it.</text>
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          <description/>
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              <text>The object was made on a continuous electric lathe. Once the piece of wood has been selected, it is roughed by hand and with the electric planer to obtain the square base. The piece is placed on the lathe and held with the fingers while the lathe is turning, and the narrow, elongated part is roughed out with the gouge. The idea is to try to make as fine a shaft as possible.</text>
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          <name>Material Source</name>
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              <text>The woods used in the making of these pieces come from prunings, fellings, and cleanings of fruit tree plantations near the workshop.</text>
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              <text>The object is made using the woodturning technique, which has historically been of some importance in northern Spain. However, it is not a traditional piece from the area, but is the result of the practice and knowledge of international woodturning.</text>
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              <text>The production scale is limited, as the artisan crafts these types of pieces during their free time</text>
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          <name>External ID</name>
          <description/>
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          <name>Place</name>
          <description>The town or city</description>
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              <text>La Castañal, Bimenes, Asturias, Spain</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Finials</text>
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            <name>Type</name>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Pieces made of fruit tree wood. These are artistic and decorative pieces. They can be the finials of a piece of furniture or a clock. They have a base on which to stand, and consist of long wooden spindles, where the craftsman explores and improves his technique.  The use of various woods is combined.</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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            <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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            <name>Extent</name>
            <description>The size or duration of the resource.</description>
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            <description>An entity responsible for making contributions to the resource</description>
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            <description>A related resource from which the described resource is derived</description>
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            <description>A related resource that is referenced, cited, or otherwise pointed to by the described resource.</description>
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                <text>Graña García, A. (1985) La tornería en el occidente asturiano. Museo Etnográfico de Grandas de Salime&#13;
https://www.instagram.com/picutorneru/</text>
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            <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
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                <text>Remates torneados</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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              <elementText elementTextId="15157">
                <text>18/08/2025</text>
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        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
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            <description>The Europeana material type of the resource.</description>
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          <elementTextContainer>
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            <description>A legal document giving official permission to do something with the resource.</description>
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            <description>An account of the resource</description>
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              <description>A name given to the resource</description>
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          <description>Museum, Ecomuseum, Extended Museum, Territorial Museum, Cultural Center, Memory House, e-Museum, etc</description>
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                <text>Enrique Meléndez Galán</text>
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                  <text>Site: Barn</text>
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                <text>This is a fine example of a traditional 'Helmsdale' patterned fisherman's gansey or jumper, dating back to&#13;
the mid-20th century. The design features motifs that include the diamond shape of herring nets and the&#13;
cable patterns reminiscent of rope and rigging. This particular jumper was typically worn on special&#13;
occasions or Sundays, rather than while at sea. Fisherwomen, who were skilled knitters, created ganseys&#13;
during their spare time as they awaited the herring catch to arrive at the quayside.</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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              <elementText elementTextId="7799">
                <text>Art,MARINE LIFE,PEOPLE,SOCIAL HISTORY</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>melendezenrique@uniovi.es</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>376</text>
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            <description>Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal).</description>
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                <text>09/06/2025</text>
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            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
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                <text>current,58.11668012077829,, -3.6541763990927962;</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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                <text>TEXT</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="12263">
                <text>Fisherman's hat</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Fishing sinker</text>
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            <description>The nature or genre of the resource</description>
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          <name>Archive</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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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="12569">
                <text>Fishing sinker (Ts8477)</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>External Item</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
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  <item itemId="906" public="1" featured="0">
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      <name>External Item</name>
      <description/>
      <elementContainer>
        <element elementId="221">
          <name>External Type</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="12400">
              <text>Physical Object</text>
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          </elementTextContainer>
        </element>
        <element elementId="187">
          <name>External ID</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="12401">
              <text>6304</text>
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        <element elementId="222">
          <name>Archive</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="12402">
              <text>EULAC</text>
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        </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="12398">
                <text>Flat Iron</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
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                <text>External Item</text>
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            </elementTextContainer>
          </element>
        </elementContainer>
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    </elementSetContainer>
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      <file fileId="1751">
        <src>https://culturality.museum/omeka/files/original/1f686710b06549fc6110f6e2d4aafac3.png</src>
        <authentication>da7709f1d00013a9af6e31b4a475d36e</authentication>
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      <name>Tour</name>
      <description/>
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        <element elementId="175">
          <name>Author</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="19533">
              <text>iain</text>
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          </elementTextContainer>
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        <element elementId="108">
          <name>Wiki</name>
          <description>A link to a wiki entry about this item.</description>
          <elementTextContainer>
            <elementText elementTextId="19536">
              <text>https://culturality.museum/wiki/index.php/Flow_Country</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>
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                <text>Flow Country</text>
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          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Tour</text>
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          <element elementId="64">
            <name>License</name>
            <description>A legal document giving official permission to do something with the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="19530">
                <text>Creative Commons Attribution-ShareAlike License</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>650</text>
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          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="19532">
                <text>highlandandislands</text>
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          <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="19534">
                <text>09/20/2025 03:06:38 pm</text>
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          <element elementId="81">
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            <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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          <element elementId="100">
            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="19529">
                <text>TEXT</text>
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          <element elementId="97">
            <name>Object</name>
            <description>The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy.</description>
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                <text>https://openvirtualworlds.viewin360.co/share/collection/7DDVz?logo=0&amp;amp;info=0&amp;amp;fs=1&amp;amp;vr=1&amp;amp;sd=1&amp;amp;initload=0&amp;amp;thumbs=1</text>
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  <item itemId="1397" public="1" featured="0">
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      <name>Natural</name>
      <description/>
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          <name>Prim Media</name>
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          <name>Wiki</name>
          <description>A link to a wiki entry about this item.</description>
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              <text>https://culturality.museum/wiki/index.php/Flow_Country</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Flow Country</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>The Flow Country is a vast area of bog peatland in Caithness and Sutherland, northern Scotland. It is the largest blanket bog in Europe, and covers about 4,000 km2 (1,500 sq mi). It is an area of deep peat, dotted with bog pools, and is a very important habitat for wildlife. As peat is largely made up of the remains of plants, which are themselves made up of carbon, it locks up large stores of carbon for thousands of years. This carbon would otherwise be released to the atmosphere and contribute to global warming. In 2024 the Flow Country was awarded World Heritage status by UNESCO on account of its unparalleled blanket bog habitat. It includes the Forsinard Flows National Nature Reserve and the Caithness and Sutherland Peatlands.</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>English,Scottish Gaelic</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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            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
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          <description/>
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              <text>Black clay of Molelos</text>
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          <description/>
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          <description/>
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              <text>For decoration.</text>
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          <name>Technique</name>
          <description/>
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              <text>The flower pot is made from black clay from Molelos and its shape is achieved using special molds. </text>
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        <element elementId="226">
          <name>Material Source</name>
          <description/>
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              <text>The potter collects black clay from a local plot of land designated for the extraction of the material.</text>
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        <element elementId="228">
          <name>Production Quality</name>
          <description/>
          <elementTextContainer>
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              <text>The artisan actively continues to produce this piece.</text>
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        <element elementId="187">
          <name>External ID</name>
          <description/>
          <elementTextContainer>
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        <element elementId="275">
          <name>Tool</name>
          <description/>
          <elementTextContainer>
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              <text>The potter places a ball of clay in the centre of a spinning wheel. Using the appropriate speed and his hands, the potter guides the clay, shaping it into the desired form for the flower pot. The potter decides on the final shape of the piece. Once moulded, the pot is left to dry. The pot is then placed in a kiln and subjected to high temperatures. The firing process hardens the clay, transforming it into a durable ceramic piece ready for use. </text>
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        <element elementId="155">
          <name>Place</name>
          <description>The town or city</description>
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        <element elementId="108">
          <name>Wiki</name>
          <description>A link to a wiki entry about this item.</description>
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            <elementText elementTextId="24322">
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    <elementSetContainer>
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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>
            <elementTextContainer>
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                <text>Flower pot</text>
              </elementText>
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          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
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                <text>Physical Object</text>
              </elementText>
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          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="24299">
                <text>It is a cylinder with a closed base and textured outer walls.</text>
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            </elementTextContainer>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>1858</text>
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          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
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                <text>Portuguese</text>
              </elementText>
            </elementTextContainer>
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                <text>craftedobjects,portugalobjects</text>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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        <description>Specific elements of the Europeana Semantic Elements.</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>
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                <text>Kjersti Robertsen</text>
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            <name>Title</name>
            <description>A name given to 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>
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                <text>Ulrika Jäger</text>
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              <text>The western part of Värmland is rich in lakes and waterways that offer a nature experience and are an important part of local identity. It is a landscape in Värmland, and especially the western part (a cultural region consisting of Eda, Arvika, Årjäng municipality, with parts of Kil and Sunne municipalities) is characterised by countryside, smaller towns, villages, forests, lakes, mires, and agriculture. It is an area associated with culture largely because many artisans have lived there, the presence of folk high schools with cultural education, the Ingesund College of Music, and cultural organisations. This area has had close relations with Norway, which continue through trade, work, and cultural exchanges.</text>
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              <text>The ability to play by ear requires knowledge. The folk music environment is notably driven by volunteers, amateurs, and culture bearers, some of whom may be professionals. The Swedish model of municipality-run music schools also plays an important role in transmission. Informal settings, including evenings for playing together, as well as events for playing and dancing, create an inclusive environment where professionals, amateurs, and new practitioners meet and play together.</text>
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              <text>Notably, many practitioners express a close, meaningful relationship to the dance, which, together with the music, makes up the folk music scene and culture, both on a local and a larger scale. Some practitioners say that playing a concert is meaningful first and foremost in relation to the presence of dance, whereas others express that it's only the playing that matters. Sometimes the music is referred to by some as "Gebrauchsmusik" or "bruksmusik" (Swedish). Folk music is also performed in churches, for concerts, as well as weddings and funerals.</text>
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              <text>Folk music has transformed in Värmland and has shifted through time. Important work has been done in the latter half of the 20th century through the gathering of information from older practitioners (by learning from them), which has made the traditions more vibrant. Polska, for example, was heavily influenced by modern songs and dances in the first half of the 20th century, whereas now it's a very much alive and thriving tradition.</text>
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              <text>Ingesund College of Music in Arvika, as well as several organisations that arrange dance evenings where "spelmän" and "spelkvinnor" (lit. playing men and playing women) or the gender neutral term and commonly used "folkmusiker" (lit. folk musician) are playing for sets. There's also "spelmanslag", a form of amateur organisations where players gather and play a repertoire together. On a national level organizations or actors such as: The Song Archive by National Collections of Music, Theater and Dance, "Svenska visarkivet", the Swedish Musical Heritage database by the Royal Swedish Academy of Music, "Levande musikarkiv", as well as the Swedish Institute for Language and Folklore and the folk music centre Folkmusikens hus host archives.</text>
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              <text>Ingesund College of Music in Arvika, as well as several other places which one can access, such as hembygdsgårdar or bygdegårdar, are important places. Parties and events. Music makes people want to gather, and the places where music is played attract an audience.</text>
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                <text>Västvärmländsk folkmusik, i en skadinavisk tradition</text>
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Slavec Gradišnik, Ingrid, 2011: Kovaštvo (Blacksmithing). In: Slovenika, slovenska nacionalna enciklopedija. Ljubljana: Mladinska knjiga (pp. 627-628).</text>
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                <text>Tools for extracting frames from the hives. The frame lifter has ergonomic handles, gripping pincers, and a side blade. The hive tool serves as a support in the task of frame extraction. Both tools are made of metal—stainless steel.</text>
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                <text>asturiasmap</text>
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                <text>Alzacuadros y espátula</text>
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              <text>Franciacorta extends from Mount Orfano (height: 451 m) in the southwest area to the shores of Lake Iseo in the north, and from the river Oglio in the western border to the city of Brescia in the eastern one. </text>
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                <text>Franciacorta is a historical region in the Province of Brescia, Lombardy, Italy, with a population of around 158,249. It is known for its wine production and includes world-famous producers such as Berlucchi, Bellavista and Ca' del Bosco. The name Franciacorta appears for the first time in 1277. It derives from the Italian “corti franche,” which were medieval villages exempt from tax or levies.</text>
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            <name>License</name>
            <description>A legal document giving official permission to do something with the resource.</description>
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                <text> Fabio Ingrosso</text>
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              <text>Frej is sitting on a wood log working on a spoon outside his house.</text>
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                <text>Stefan Barkman</text>
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      <description>An artisan</description>
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              <text>frej@frejlonnfors.com</text>
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              <text>iain</text>
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        <element elementId="152">
          <name>Email</name>
          <description>The email address of the museum.</description>
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              <text>frej@frejlonnfors.com</text>
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          <description>The phone number</description>
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              <text>Lonnfors is a professional craftsperson (slöjdare). He both works with production and with teaching. He is inspired by older crafting techniques and folkloristic elements. Lonnfors has been celebrated for his chip-carving patterns.</text>
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              <text>Lonnfors has crafted in wood througout his life and studied and learned through making. He has both been to school -Sätergläntan, in Dalarna, Sweden - where he was allowed to skip the first year (of three), because he was so knowledgable and he has also taught himself.</text>
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              <text>Lonnfors has taught as a teacher at Sätergläntan - Institutet för slöjd och hantverk (see RV_CP_04), for five years as well as in grade school for five years. He holds courses as part of his enterprise.</text>
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              <text>Ulrika Jäger, Kajsa Stinnerbom</text>
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              <text>Lonnfors is born and grew up in Hagfors (region of Värmland), but have lived and worked in Dalarna a few years. Since a year back, he's living with his family in Värmland, but now outside of Västra Ämtervik. He came back because he was looking for a place to live in Värmland with his partner and they found an older property.</text>
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              <text>Lonnfors has the knowledge nessesary to handle the relevant tools for hand crafting in wood as well as picking out the material. Making shrink pots and decorating them with chip carving is one of Lonnfors signature products. He also knows how to pick out the right material both from a mill, but also in the forest.</text>
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              <text>He burns the leftovers in his stove.</text>
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              <text>Primarily carving in fresh and drier wood. Also the associated practices with getting the materials. See RV_AR_16, RV_AR17, RV_AR_18, RV_AR_19, RV_AR_20. Lonnfors dosen't use machines.</text>
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              <text>Knife, saw, adz, chalk reel, brace, axe, draw knife, v shaped carving knife, gouges, plane, auger, wooden frame saw, calipers, marking gauge, figure saw, drawing compass, ruler. See RV_CP_05(01-03).</text>
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              <text>Lonnfors prefers simple tools that have been used historically; tools he can take care of, and mend himself. One of his axes (shown in RV_CP_05(01)) is one he has used throughout his life as a crafter. He changes the handle when needed.</text>
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              <text>Lonnfors makes bespoke artecats and reconstructions of older artefacts that he wants to recreate. He also has a production. Among others, the handicraft developers of Sweden have places orders for traditional linen preparing tools and for courses. Primarily he makes applied arts, such as craft for everyday use.</text>
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