8 100 1975 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 120 Material Wool, cotton, hemp Wool spinning, weaving, embroidering Natural Cultural Cultural Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource IE + ZADII Type The nature or genre of the resource Physical Object Description An account of the resource The items are part of a girl’s traditional costume. Historically the girls of the ethnographic area of Lăpuș used to wear such clothing attire as daily outfit, but with the passing of time the traditional costume is worn only on special occasions such as on holidays, weddings, etc. The traditional costume is one of the most important manifestations of traditional culture, the result of the creative effort of a whole community and a real identity brand. The dominant note of the elements that compose the Romanian folk costume is the use of white fabrics made of natural f ibres (plant and animal). Particular attention is paid to the long and difficult technological processes of producing clothing elements in the world of the traditional village, weaving a whole system of beliefs and customs in this regard. The traditional production of costumes relied on local resources such as wool, hemp, linen, and cotton. The most relevant piece of this attire and the element that establishes the genesis of the Romanian folk costume is the shirt, which synthesises the most traditional elements and, at the same time, the most numerous artistic elements of ornamentation. In traditional spirituality, the embellishments that are used to decorate the shirt are not just decorative signs, but they have a much deeper spiritual meaning and play a protective role for the person wearing the clothing item. The symbols and various shapes embroidered on traditional costumes embody the identity of the people in a mixture and contraposition of sacred and mundane, faith and pagan superstitions, creative genius and practical functions. Date A point or period of time associated with an event in the lifecycle of the resource 1960-1970 Creator An entity primarily responsible for making the resource 645,646 Extent The size or duration of the resource. 40cm x 70cm x cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 90 Source A related resource from which the described resource is derived 10rumania,craftedobjects,romaniaobjects,taralapusuluimap Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 14/09/2024 Spatial Coverage Spatial characteristics of the resource. current,47.493611,24.034167; Date Modified Date on which the resource was changed. 10/06/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/10-rumania/ Artisan An artisan Author iain Email The email address of the museum. ileana_matus@yahoo.com Phone The phone number 0040724237105 Prim Media 505 Biographical Text She was born in Rona de Jos commune, in an area where Romanian, Hungarian and Ukrainian ethnic minorities lived as a community. Singing in her family was a usual activity, she was naturally gifted. Her grandmother was the “godmother” of her village and she was invited to all cultural events in the area as a singer, even to funerals as she was the only one entitled to undergo all customs and specific traditions and local practices. In 1987 she makes her debut in folk music when she is accepted in the School of Folk Art from Baia Mare, and she keeps enrolling into schools as to contribute to her future as artist. She moves to Bucharest where she lives for more than 15 years, meanwhile she publishes several albums that explore the native folklore of Maramures, including religious songs called “pricesne”. She is currently running a Foundation called ‘’’Morosanca” where she teaches young talents the secrets of singing, of respecting the statute of an ‘’authentic artist’’ starting with basic knowledge related to historical background, respect towards traditions, clothing, folk culture. She currently teaches over 30 children the elementary skills of canto, her previous generation of students have been accepted in prestigious music schools, in Cluj or Oradea, some of them are also teachers themselves. She restored a traditional house in which she now hosts a museum dedicated to the Maramures traditional costume, as a pledge for the future generations to appreciate of cultural patrimony. External ID CJMM_PR_01 Knowledge Acquisition She grew up in an environment and in a family where singing was part of their daily life and and music wasn’t a hobby or a distraction but part of their DNA. Knowledge Transfer Yes, she has a foundation where she simultaneously teaches over 30 children/adults canto Field Worker Noemi Ganea Gender female Area Relation native Occupation other (specify),other (specify) Involvment part-time paid job knowledge1 Singing and particularly singing carols is part of the oral folklore of the region, and in Maramures the carols predict and welcome the birth of Jesus. But, their significance dates even further back in time, when caroling was done as to announce the winter solstice and to celebrate the god of sun. The practitioner believes that in caroling one singer must keep its authenticity. These days singers take canto lessons, concentrate on developing their ambitus, but they lose sight of their particularity and authenticity and soon traditional singing will be universal, not particular. products1 Yes, she simultaneously works at her foundation that is located in Nănești, where her small folk costume museum hase been set up and also works in the second municipality of Maramureș, in Sighetu Marmației at the children's club in close cooperation with the local authorities. products2 songs, albums products3 to create a compilation of her work, to make it available for the larger public products4 records house, online, etc products6 the large public tourism1 Not directly. Her songs can be part of a tourism experience when visiting Maramures tourism2 Maramures is about hospitality, people in this area are still good at their hearth and welcome you in their family, athis makes Maramures suc a distinct destinationa amoung other destinations in the world. partnership Yes, she is coordinating also a local Children's Club where herself and other local artisans teach children, adults local cultural practices, and make sure the conservation and transmission of the these practices is ensured. challenges1 Ileana Matus considers that singing carols, a specific type of artistic act that must reflect the authenticity and specificity of each ethnographic area is threatened by kitsch, by artists that are emerging and that prefer to alter authenticity in order to become commercial. It should be compulsory for children to learn caroling, as to make sure that this practice is not lost. It is like our ancestral memory is being erased and we blame the younger generation that they don’t keep traditions, but in fact it is our fault that we do not make efforts to ensure they learn and preserve these traditions. challenges2 Singing for me is not a means to ensure a decent living, for me is a form of living itself. I was born singing and I shall die and pass on to the other word listening to my songs. My talent is a gift from Our Good Lord and my meaning is to share it to all those that are willing to listen to it . Social Media The social media links. facebook,https://www.facebook.com/profile.php?id=100047167362671&locale=ro_RO; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Matus,_Ileana Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ileana Matus Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1973 Language A language of the resource Romanian Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 333 Source A related resource from which the described resource is derived artisans,people,taralapusuluimap Spatial Coverage Spatial characteristics of the resource. current,47.8355,24.0132; Description An account of the resource She was born in Rona de Jos commune, in an area where Romanian, Hungarian and Ukrainian ethnic minorities lived as a community. Singing in her family was a usual activity, she was naturally gifted. Her grandmother was the “godmother” of her village and she was invited to all cultural events in the area as a singer, even to funerals as she was the only one entitled to undergo all customs and specific traditions and local practices. Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Matus, Ileana Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://www.morosanca.ro/fundatia_Morosanca.html Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Romania https://culturality.museum/omeka/files/original/1f5d74ddd607ff569a7522bd1939d45a.jpg fc4c8d8c25cb70be7bc500534b6276d9 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID CJMM_PR_01(01) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ileana Matus in her small house that was transformed in a museum Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-04 Spatial Coverage Spatial characteristics of the resource. current,47.8355,24.0132; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Marius Muresan Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Romania https://culturality.museum/omeka/files/original/d28581c4b64117480446bba2dd84ee98.jpg 6dbb6e08743cf5f9c3107af43c83d1dc Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID CJMM_PR_01(02) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ileana Matus in her small house that was transformed in a museum Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-04 Spatial Coverage Spatial characteristics of the resource. current,47.8355,24.0132; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Marius Muresan Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Romania https://culturality.museum/omeka/files/original/1a72cd229501a3ab73eb7a313003cc73.jpg 39a546219c978f1e16cd703b4633ee7e Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID CJMM_PR_01(03) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ileana Matus in her small house that was transformed in a museum Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-04 Spatial Coverage Spatial characteristics of the resource. current,47.8355,24.0132; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Marius Muresan Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Romania https://culturality.museum/omeka/files/original/8fa42d42666a10974aa0bfd8cb370b10.jpg 9c5df192f899ca77b018f24fe7c97de6 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID CJMM_PR_01(04) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ileana Matus in her small house that was transformed in a museum Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-04 Spatial Coverage Spatial characteristics of the resource. current,47.8355,24.0132; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Marius Muresan Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Romania https://culturality.museum/omeka/files/original/75f2a61b4f22eb9161d24929a4ff7cca.jpg 8ca625cfb7d077bcf90a921715d07fff Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID CJMM_PR_01(05) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ileana Matus in her small house that was transformed in a museum Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-04 Spatial Coverage Spatial characteristics of the resource. current,47.8355,24.0132; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Marius Muresan Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Romania https://culturality.museum/omeka/files/original/72ab8e1868bb1994243d13ed8e588d92.jpg b2c434e88d669aa8702e1bc432f6ecfd Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID CJMM_PR_01(06) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ileana Matus in her small house that was transformed in a museum Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-04 Spatial Coverage Spatial characteristics of the resource. current,47.8355,24.0132; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Marius Muresan Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Romania https://culturality.museum/omeka/files/original/808413b3b3e3d87996525073e68de744.jpg d4eb237caac97614b5f5df8532971ee5 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID CJMM_PR_01(07) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ileana Matus in her small house that was transformed in a museum Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-04 Spatial Coverage Spatial characteristics of the resource. current,47.8355,24.0132; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Marius Muresan Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Romania https://culturality.museum/omeka/files/original/69aa06d3ee7bd0016a5ddc0354bc1f60.jpg 3ec0cb8655eeb9912120792f1d11848b Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Images of some of Henner's plant dyed yarns Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-06 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger, Sara Olsson https://culturality.museum/omeka/files/original/9fdebec08ad6891c788497a980c4a18e.jpg a454c5556d21bce21322a3b945f4ebb0 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource In both historical visual documents and mythology, we can observe how this knowledge was passed down from mothers to daughters, also in the upper classes, who reserved certain tasks like embroidery for the maids while engaging in other activities like wool carding. Illustration of women of different ages performing household task (cooking and spinning and carding wool) from The costume of Yorkshire (1814) Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain136 Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Medium The material or physical carrier of the resource. British Library Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Material Sheep wool Natural Cultural Cultural Function Wearable, clothing. Creation Purpose For sale Technique Woven wool Material Source Lofoten Islands Conecept The use of local wool from old sheep breeds that are adapted to the climate and landscape as a way of preserving animals that pre-date industrialized production, makes customers feel more connected with the culture and the land. The landscape also benefits from traditional ways of sheep herding, that do not use any chemically-produced fertilizers. For sheep farmers, this is a way out for the derivate of their main industry. The hand-knitted sweaters from Lofoten wool Both the tourists who look for an exclusive, locally made and usable souvenir, and the people who buy the yarn to craft their clothes look for the feeling of doing something good for the planet and the local economy. The branding names of the wool also refer to the evocating cultural and natural elements of the region. Production Quality Small scale External ID MN_AR_04 Field Worker Rebeca Franco Valle Craft fibre and textile crafts Tool Automatized loom, outsourced. The wool is woven into a large piece of fabric in a weaving factory and then sent back to the headquarters in Stamsund. There the fabric is cut into the desired size for a shall, the hems are secured and the tag is put into it. The resulting fabric is the hand-died at the workshop in Stamsund. Place The town or city Stamsund, Lofoten, Norway Prim Media 842 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Indigo Shwall Type The nature or genre of the resource Physical Object Description An account of the resource A square-shapen woven shall made out of locally sourced wool from the Lofoten Islands, died with Indigo. Date A point or period of time associated with an event in the lifecycle of the resource 2024 Creator An entity primarily responsible for making the resource 687 Language A language of the resource Norwegian Extent The size or duration of the resource. 210cm x 70cm x cm Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 432 Source A related resource from which the described resource is derived craftedobjects References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://lofoten-wool.no/en https://www.nibio.no/prosjekter/amazing-grazing-baerekraftig-kjott-og-ull-fra-sau-som-beiter-i-norsk-utmark?locationfilter=true https://www.smabrukarlaget.no/aktuelt/bonde-og-smaabruker/, https://www.norskekunsthandverkere.no/kunstnerregister/ragnhild-lie https://husflid.no/ https://www.utdanningsforbundet.no/ https://www.bondelaget.no/ Esther Haukeland, Innføring til plantefarging. Cappellen, 1982. Animalia: Norwegian wool Standard. https://www.animalia.no/no/Dyr/ull-og-ullklassifisering/norsk-ullstandard/ Beder, Nicolina J., Seyður Ull Tøting. SPF. Sprotin, 2010. Flååt, Inger. Votter i Namdalen. Nauma Husflidslag, 2010. Grimstad, Ingun K. and Sårdal, Tone t. Norsk Strikkehistorie. Vormedal Forlag. 2018. Grimstad, Ingun K. and Sårdal, Tone T. Ren ull. Aschehoug, 2013. Hrútaskrá. https://www.rml.is/is/kynbotastarf/saudfjarraekt/hrutaskra Joensen, Robert. Seyðabókin. SPF. Sprotin, 2015. Johnston, Elizabeth and Juuhl, Marta K. The warp-weighted loom. Kljásteinavefstadurinn: kljásteinar klingja. Oppstadveven: klingande steinar. Skald, 2016. Kjellmo, Ellen. Båtrya i gammel og nyt tid. Orkana, 1996. Sundbø, Annemor. Usynlege Trådar i Strikkekunsten. Samlaget, 2006. https://www.norskebilledkunstnere.no/ Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 02/07/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Indigo Sjal Spatial Coverage Spatial characteristics of the resource. current,68.1490556685704,13.7622515654953; Date Modified Date on which the resource was changed. 10/07/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT https://culturality.museum/omeka/files/original/13eac1b3b87091475d5e050ca6580677.JPG 70ac1925c757f4393db6dacdd6545dba Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Indoor, Therese Henner at her loom in her studio, weaving. Image in profile view. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024-02-16 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Susanne Johansson Sadri https://culturality.museum/omeka/files/original/a908fd43d5ad72d1c0fd63a6ba61410c.mp4 4a9e0407b005b1db54880f9c2b386747 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Indoor, Therese Henner at her loom in her studio, weaving. Video at an angle from behind Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2024-02-16 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Susanne Johansson Sadri Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/RV_CP_03_01_-1.mp4 Artisan An artisan Contact inez.assk37@gmail.com Author iain Email The email address of the museum. inez.assk37@gmail.com Phone The phone number +46 70-5944530 Prim Media 694 Biographical Text Inez has worked as a textile teacher and is now retired. Knitting has been important for her throughout her life. She has had a big exhibition of mittens (she has inherited artifacts of her grandmothers) in entrelac in Sunne at Sundsbergsgård a few years ago and she has also published a book “Maria's mittens”. She knits in her family's tradition. External ID RV_PR_01 Knowledge Acquisition As a child, she watched her great-grandmother knit and Inez was further taught by her grandmother in the 1970s. Knowledge Transfer Inez have had som workshops where she have taught. She's has written av book with her patterns. Inez currently is mentoring knitter and crafter Ulrika Jäger Field Worker Ulrika Jäger, Sara Olsson Gender female Area Relation native Occupation fibre and textile crafts knowledge1 Knowledge in knitting and to be able to read and understand patterns. The entrelac technique requiers further knowledge. material1 Only wool yarn from sheep, and most of it is imported from Norway. She finds that the norweigian yarn is of a especially high quality material2 Inez buys her wool from a local knitting store in Sunne: www.lillagarnverstan.se. The yarn is from Rauma Ullvarefabrikk's website: www.rauma.no material3 Inez makes use of all the yarn, and uses the leftovers. If there's yarn left when she finishes one product, she will continue to make use of it in her next project. This is made easy by the fact that she sticks to using the same qualities for most part. production1 Entrelac, among other techniques production2 Mostly knitting needles made of metal, wood and bamboo, both sock needles and circular needles as well as a messuring tools. production3 It's of course not possible to knit these products without using tools. Inez tells stories of how the metal needles have changed throughout the years and these days are coated as to not colour the yarn. The needles of metal are heavier and slippery, but the ones of wood or bamboo are lighter and will not as easily slip out of the knit. The material is also the original patterns which she has inherited from her materal great grandmother. production4 Inez knits in her own home. The home is heated both with electricity from a energy provider and with a fireplace where she uses wood. (note: common ways to heat owns home in Sweden) production5 There's no waste created workshop She has a room in her house where she keeps all her artefacts in plastic boxes. products1 Mittens, socks, caps, sweathers, blankets, wests products2 She produces them for own use, as gifts and for exhibitions products3 She's previously made artefacts for selling, but she's not anymore products4 Workshops, exhibitions. She's also written a book with her patterns products5 No products6 Mostly women products7 "Utmärkt värmländsk slöjd" which translates to "craft from Värmland of extraordinaty quality", awarded to toptier quality by a jury of the local regional crafts association tourism1 No, but she would like to tourism2 (When asked about wish to be invoved with tourism activities): Yes, really interested in this, Finn forest and well, Lekvattnet (note: a village in Finn forest), that museum here and this Finn culture. Because it's so close to my home where I was born and therefor it would be so exciting to, well, get a bit further in the tourism context./ Ja det är de verkligen inresserade utav, Finnskogs ja i Lekvatten det här museet här och ja den här Finnkulturen. För att det ligger så nära mina hemtrakter där jag är född och så därför tycker jag det skulle vara väldigt roligt å ja komma lite längre i det här turistsammanhanget. (21:16 minutes into the interview) partnership She's associated with knitting cafés. She's had associations with the local regional crafts association. challenges2 I believe we can make it more popular. But it's not an easy technique, one has say, the way [entrelac] is knitted / Jag tror nog vi kan få upp det lite ännu mer så att det blir populär. Men det är ingen lätt teknik det får en lov å säga innan de vet, ja, sättet hur man stickar (41:10 into the interview) references Marias vantar. En bok om näverstickning - vantar, mössor, småslöjd. Inez Assk ISBN9789186699659 Kontstrikk. Ruth Gullbekk Bolstad. ISBN9788291195353 Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Inez_Assk Material Description Wool Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Inez Assk Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1936 Language A language of the resource Swedish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 402 Source A related resource from which the described resource is derived artisans,people,varmlandmap Spatial Coverage Spatial characteristics of the resource. current,59.8376399,13.1230106; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Sweden Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Inez Assk https://culturality.museum/omeka/files/original/0fa3201a53bcc40a72171142565ca1fc.jpg 6d82c055c971c4e28bb6e3ea7ab7aab3 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID RV_CP_01(01) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Inez Assk holding a local and traditional pack basket woven from birch bark using the same design language as entrelac Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2024-11-21 Spatial Coverage Spatial characteristics of the resource. current,59.8376399,13.1230106; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger, Sara Olsson Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Sweden https://culturality.museum/omeka/files/original/30ae5e24ad6139929b7e7f72e9cd1dd5.jpg 4a968ddf9a319a667fb0be2d3b820225 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID RV_PR_01(01) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Inez Assk in her home, knitting Type The nature or genre of the resource Still Image Spatial Coverage Spatial characteristics of the resource. current,59.8376399,13.1230106; Date A point or period of time associated with an event in the lifecycle of the resource 2024-11-20 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger, Sara Olsson Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Sweden Artisan An artisan Contact ingridlarssen62@gmail.com Author iain Email The email address of the museum. ingridlarssen62@gmail.com Phone The phone number (+47) 99157544 Biographical Text The practitioner dedicates herself to artworks with different kinds of textile as wool and silk. Uses a special technique called "Smocking" (Vaffelsøm). Combine the textiles with algea and seaweed. Natural dying of the textiles. External ID MN_PR_04 Knowledge Acquisition She learned from her mother and she went to sowing school, initially at "Melbu", Vesterålen. Knowledge Transfer Only by order. Not every technique, but some basic sowing. Field Worker Julie Therese Sæther Gender female Area Relation native Occupation fibre and textile crafts,metalwork,artist knowledge1 To sow "vaffelsøm" (smocking) and how to colour textiles with materiale found in nature f.ex. with sea orchin material1 Wool, silk and seaweed material2 She buys textiles or gets it from friends, and the seaweed she finds by the ocean material3 She reuses every leftover production1 Vaffelsøm or smocking in English production2 Sowing needles, scissors and graph paper (millimeterpapir) production3 Her tools are essential for the craftmanship, she cant work without it. The tools are mass produced as needles for sowing, scissors and graph paper. production4 Normal electricitypower (mostly hydropower) which is the common and prefered source of energy used in Norway. She practice her craft in her house. production5 There are no waste. The seaweed she doesnt use can be thrown back into the sea. workshop Her workspace is in her home. products1 The items are artwork inspired by the sea. Artworks with mentioned materials. She produces detailed brooches, artworks, and decorative textile pieces that can be used as ornamental clothing. products2 To sell it and to have them in exhibitions products3 At exhibitions or from her home, no digital platform, but can be contacted through email or her artist profile at the Norwegian craft artist website products4 The practitioner may produce art on comission from private and institutions products5 Nothing else than her own artwork products6 Private people, institutions, tourists products7 Nothing more then artists signature/name, unique style and technique tourism1 The tourists can visit her exhibitons at art galleries. Local cultural events/week. Art on display. Western tourism during summermonths, Asian tourism during winter months (roughly divided) tourism2 Det er jeg ikke involvert i, bortsett fra med de turistene som kommer innom utstillingene. partnership The practitioner is a member of "Norwegian craft artist", currently involed in a project with Canada. Cooperate with institutions on production of art for decoration. Involved in exhibitions in Museums. challenges1 The artist is recognized on a national level and receive funding by state programs for artists. Her motivation is creativity, sales are a bonus to keep funding the art. challenges2 Det som er problemet med dagens synåler er at de for kort, slik at man får vondt i fingrene. references Practitioners CV and references : https://cdn.sanity.io/files/i8o2gj51/production/af039bea24906dad841d236ee1b89de4b8b81328.pdf Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Larssen,_Ingrid_ Prim Media 1371 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ingrid Larssen Type The nature or genre of the resource Artisan Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 580 Source A related resource from which the described resource is derived artisans,lofotenmap Spatial Coverage Spatial characteristics of the resource. current,68.570009,14.93763; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Norway Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Larssen, Ingrid Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://www.norskekunsthandverkere.no/kunstnerregister/ingrid-larssen Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Prim Media 1752 Context Art is often connected to the culture in wich it appears. Ingrid Larssen has a close connection to sea and the coastal culture and the traditions connected to the area. Field Worker Julie Therese Sæther Climate Threats Water pollution Economic Threats Insufficient financial resources Policy Threats Educational standardisation Conflicts Outbreak of war or armed conflict Demographic Threats Rural-urban migration Globalisation New pastimes Weakened Practice Diminishing youth interest Loss Threats Loss of knowledge Climate Actions Community Engagement,Collaboration with other organisations ,Governance management and green policies SDG Decent Work and Economic Growth,Sustainable Cities and Communities,Responsible Consumption and Production External ID MN_CP_06 Knowledge You have know how to sow and you have to know how to color materials with natural ingredients. Knowledge Transfer From her mother and in sowingschool. Practitioners Sowing is tradtionally connected to women, and in the old days it was very common for women to be seamstresses. Ingrid learned her first stiches from her mother. Nowadays most of us have to learn it in school. Function Sowing is getting trendy again because peolpe are looking into reuse of clothes and material. It is a movement based in and against our modern society use- and throw- away mentality. Origins and change The tecnic smocking (vaffelsøm) stems from the middleages, and havent changed much. The needles may have changed a bit, they are smaller and thinner now. Organisations Different sowing schools in Norway Places Ingrid Larssen and her pratice is associated with Stokmarknes and Vesterålen. Artefacts Needles, scissors and graph paper Climate Threats Description The practioner uses seaweed and plants to color the textiles. Pollution may disrtort the coloringprocess. Economic Threats Description With more funding she could have had more exhibitions and maybe taken in apprentices and opend a workshop outside of her home. Technological Threats Description I dont know if any of these fit. She is not involved in industrial production, she is not looking for new technologies and she uses "old" materials such as wool and silk. Policy Threats Description I have the impression that fewer students are learning to sow in school. 30 years ago we learnt how to sow our own clothes, today they do some steaching on a little cloth. Conflicts Description This may harm all of us. Demographic Threats Description People often move away from Vesterålen, when they move. This may mean less visitors to exhibitions. Decontextualization Description I don´t think any of these fit eather, her work isnt threathened by any of these factors. Globalisation Description The may also mean that fewer attend artexhibitions. Weakened Practice Description The practice of smocking may be threatened if the young doesn't learn it anymore. Loss Threats Description The loss of knowledge regarding sowing and coloring with plants. State of the practice stable Social sustainability Inclusivity and community development. People can look at artwork where they are and see that it is possible to have it as a job. Environmental sustainability Yes she uses natural, renewable, locally sourced material and she leaves no waste. The material she uses can be found in shops and in nature in Vesterålen. Economic sustainability She contributes to the economy of Hadsel municipality by paying taxes and creating her own job. Place The town or city Stokmarknes, Vesterålen, Norway Place Description Vesterålen is an old region where people have lived since the stoneage. Hadsel municipality has traces of a lot of activity in the ironage and the vikingage especially. The region has been depentent on fisheries and people has a strong connection to the sea. The coastal steamer, hurtigruta, was astablished in Stokmarknes in 1893. Today there are to small cities i Vesterålen, Stokmarknes and Sortland, the rest of us live in small villages. Approximately 30000 people live in Vesterålen. Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Ingrid_Larssen_and_the_Smocking_technique Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ingrid Larssen and the Smocking technique Type The nature or genre of the resource Intangible Description An account of the resource Ingrid Larssen is an artist that lives in Stokmarknes. She is using smocking as her main technique (vaffelsøm). She uses it in different sizes, and she makes small broches and big decorations that can hang on a wall. Her main material is wool, silk, thread and seaweed. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: Region Värmland Identifier An unambiguous reference to the resource within a given context 8 Rendition Prim Media 956 State of the practice thriving Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/inspiration-estetik Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. 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Ulrika Jäger Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Sweden https://culturality.museum/omeka/files/original/1aa97d3cf70caa4ca9ae38d281278340.jpg 778e9ecc49f39d34e1242a5371d20cd4 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interior de la quesería Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-08-14 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro https://culturality.museum/omeka/files/original/311754b97e3a5ed5d233c2fc988fef25.jpg 7c62f83bf72026a9cabc5185c843a01e Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. 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Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID LAPONTE_PR_01(01) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interior of Natalia Suarez's workspace Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-03 Spatial Coverage Spatial characteristics of the resource. current,43.461389,-6.039444; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain https://culturality.museum/omeka/files/original/aef470317c2e1c0f61afa7d3362f15a6.JPG b54bd4b2f153e7e66151b6ec66df8170 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID LAPONTE_PR_01(02) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interior of Natalia Suarez's workspace Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-03 Spatial Coverage Spatial characteristics of the resource. current,43.461389,-6.039444; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain https://culturality.museum/omeka/files/original/e8ea9853db99264e01e183b3eb085588.JPG 86076489d0441ddb9bdf5e0be0223e3a Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID LAPONTE_PR_01(03) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interior of Natalia Suarez's workspace Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-03 Spatial Coverage Spatial characteristics of the resource. current,43.461389,-6.039444; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain https://culturality.museum/omeka/files/original/99f0f95df0cde25d08bba5d339925ab7.JPG 1b6f3f1ac8b5587ccea033ce69a88a6b Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID LAPONTE_PR_01(04) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interior of Natalia Suarez's workspace Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-03 Spatial Coverage Spatial characteristics of the resource. current,43.461389,-6.039444; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain https://culturality.museum/omeka/files/original/98673264c12452f974f46235092b1d84.JPG 5936c6be20bd49d62a3221adae207b38 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID LAPONTE_PR_01(05) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interior of Natalia Suarez's workspace Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2024-12-03 Spatial Coverage Spatial characteristics of the resource. current,43.461389,-6.039444; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain https://culturality.museum/omeka/files/original/6dcdf0ce2893b30195837f8a7fd736e4.mp4 f4e56decfcb329ef402bb25ec02d511b Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview video Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-04-22 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/LAPONTE_PR_05_1_.mp4 https://culturality.museum/omeka/files/original/c96f5632690ac08bc8a563d869a2ce70.m4a bedf35369ecd5e0b59ff79327270def0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: Bibbi Bengtsson Identifier An unambiguous reference to the resource within a given context 1234 Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Bibbi Bengtsson Type The nature or genre of the resource Sound Contributor An entity responsible for making contributions to the resource iain License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-07 Spatial Coverage Spatial characteristics of the resource. current,60.7107258,12.8673235; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. SOUND Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger https://culturality.museum/omeka/files/original/46bee0a0b317e56b88a6e1eb2b3f61a7.m4a ef9e97f83cca7418ef3f5db85d7d6797 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: Frej Lonnfors Identifier An unambiguous reference to the resource within a given context 1220 Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Frej Lonnfors Type The nature or genre of the resource Sound Contributor An entity responsible for making contributions to the resource iain License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-10 Spatial Coverage Spatial characteristics of the resource. current,59.7265854,13.1227098; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. SOUND Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger https://culturality.museum/omeka/files/original/c592c2d17bddb2e06ce656933cb334bc.mp4 76eabe5457756f825e3a1b9d4fde4521 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Ingrid Larsen Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-24 Spatial Coverage Spatial characteristics of the resource. current,68.57000900000000,14.93763; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Julie Sæther Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/MN_PR_04_01_.mp4 https://culturality.museum/omeka/files/original/7164f3416e78e14696866b1c27c358bb.mp4 f883a1597b468b97ca2e1c8c3ee03399 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Ingrid Larsen Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-24 Spatial Coverage Spatial characteristics of the resource. current,68.57000900000000,14.93763; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Julie Sæther Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/MN_PR_04_02_.mp4 https://culturality.museum/omeka/files/original/04cd758cf42400e0a7e414d9e9c8cd7c.mp4 cf37c8d1524b6415444df967dc2b3956 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Ingrid Larsen Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-24 Spatial Coverage Spatial characteristics of the resource. current,68.57000900000000,14.93763; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Julie Sæther Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/MN_PR_04_03_.mp4 https://culturality.museum/omeka/files/original/9b2a1e2a9b0ac808951b0f3092fce4f7.mp4 60c5a62639937ef6f61bd5af5820ecdd Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Ingrid Larsen Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-24 Spatial Coverage Spatial characteristics of the resource. current,68.57000900000000,14.93763; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Julie Sæther Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/MN_PR_04_04_.mp4 https://culturality.museum/omeka/files/original/b6807befe18b56bcd6ea2d00fc75776d.mp4 efa023ba60e8aa172ea8784da82e7c5c Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Ingrid Larsen Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-24 Spatial Coverage Spatial characteristics of the resource. current,68.57000900000000,14.93763; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Julie Sæther Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/MN_PR_04_05_.mp4 https://culturality.museum/omeka/files/original/3f25b80bfdc2cbb866336cb543036e2b.m4a 011e0b8c860aeee8c55b8be3a647d619 Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Kristine Thenman in her studio in Edane Type The nature or genre of the resource Sound Contributor An entity responsible for making contributions to the resource iain License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-17 Spatial Coverage Spatial characteristics of the resource. current,59.6303487,12.8132104; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. SOUND Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Ulrika Jäger https://culturality.museum/omeka/files/original/79851fc589146553999b326c664ca4bd.MP4 061d4a010900e297dd44257b8ae18c61 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: Fernández Martínez, Marta Identifier An unambiguous reference to the resource within a given context 1242 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Marta Fernández Martínez Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. In Copyright (InC) Spatial Coverage Spatial characteristics of the resource. current,43.3169333969445,-6.13166887325786; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. 2025-01-30 https://culturality.museum/omeka/files/original/7f612c9054f46141fbd90981d5d3a340.MP4 5648fef35f534ff231d5c848d929ecc0 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Marta Fernández Martínez Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-30 Spatial Coverage Spatial characteristics of the resource. current,43.3169333969445,-6.13166887325786; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_01_02_.MP4 https://culturality.museum/omeka/files/original/5898c42c290a0334881fbaf0eac3b2c6.MP4 a84ce88e0ab21a27d3388d89d97ae116 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Marta Fernández Martínez Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-30 Spatial Coverage Spatial characteristics of the resource. current,43.3169333969445,-6.13166887325786; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_01_03_.MP4 https://culturality.museum/omeka/files/original/07eff71c82c6bbe1be0ae58f809fe55a.MP4 3a549c6a5ea7d62342e94fec70bdae5f Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Marta Fernández Martínez Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Spatial Coverage Spatial characteristics of the resource. current,43.3169333969445,-6.13166887325786; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. 2025-01-30 Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_01_04_.MP4 https://culturality.museum/omeka/files/original/38ba98cea8f3cced1c3d1638716ed2e5.MP4 772169721576c42137eb8d3a35a6b3cd Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Marta Fernández Martínez Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-30 Spatial Coverage Spatial characteristics of the resource. current,43.3169333969445,-6.13166887325786; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_01_05_.MP4 https://culturality.museum/omeka/files/original/76f267d0b155dcc709d431eef4420f01.MP4 96df85a397e56216c7806ad7816e1990 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Marta Fernández Martínez Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-30 Spatial Coverage Spatial characteristics of the resource. current,43.3169333969445,-6.13166887325786; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/UNIOVI_PR_01_06_.MP4 https://culturality.museum/omeka/files/original/de7acae2908a5258996f3f58060918b1.mp4 1291264aa525ceae9fd0c14afcac3525 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Swetlana Poutilina Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-05-02 Spatial Coverage Spatial characteristics of the resource. current,43.368135,-5.587614; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/LAPONTE_PR_04_01_.mp4 https://culturality.museum/omeka/files/original/0b367293660d91c5220a65b426549655.mp3 42f3fa520ef23bdadd21b2f97bdb24ed Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Víctor García Rodríguez Type The nature or genre of the resource Sound Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource audio/mp3 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-06 Spatial Coverage Spatial characteristics of the resource. current,42.9407,; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. SOUND Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Olaya Alonso López https://culturality.museum/omeka/files/original/faa8472795eb29992b5005ca6f9d1cbb.mp4 470de2f34285408bbe5abcd172cbba70 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Yngve Ingebrigtsen Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-03 Spatial Coverage Spatial characteristics of the resource. current,68.9157930967307,15.2173247848933; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Julie Therese Sæther, Ingrid Elstad Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/MN_PR_05_01_.mp4 https://culturality.museum/omeka/files/original/9c3e8c1e319aff271c6f18abee7899eb.mp4 fca2934d02e0ef19efbd9d8413c8adac Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Yngve Ingebrigtsen Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-03 Spatial Coverage Spatial characteristics of the resource. current,68.9157930967307,15.2173247848933; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Julie Therese Sæther, Ingrid Elstad Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/MN_PR_05_02_.mp4 https://culturality.museum/omeka/files/original/dda3b393f7ccb09d6ee496c7c8644849.mp4 e10d4e6ff4387531a91c1f9131069a96 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Yngve Ingebrigtsen Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-03-03 Spatial Coverage Spatial characteristics of the resource. current,68.9157930967307,15.2173247848933; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Julie Therese Sæther, Ingrid Elstad Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/MN_PR_05_03_.mp4 https://culturality.museum/omeka/files/original/33a5bbbb606ce317cc6722e2a2eef800.mp4 ea4c0da0d5a2ebfabc757e81fb06aa86 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Yngve Ingebrigtsen Type The nature or genre of the resource Moving Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource video/mp4 License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource Julie Therese Sæther, Ingrid Elstad Spatial Coverage Spatial characteristics of the resource. current,68.9157930967307,15.2173247848933; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. VIDEO Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. 2025-03-03 Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://culturality.museum/galleries/upload/MN_PR_05_04_.mp4 Site Institutional nature Museum, Ecomuseum, Extended Museum, Territorial Museum, Cultural Center, Memory House, e-Museum, etc Cultural Heritage Weakened Practice Diminishing youth interest SDG Quality Education,Decent Work and Economic Growth Prim Media 1142 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Isle of Harris Distillery Type The nature or genre of the resource Site Description An account of the resource The Isle of Harris Distillery was started in 2015 as a sustainable future-proof method of creating jobs and opportunities in Lewis and Harris. It is an attractive opportunity for young generations to return back to their Hebridean homes, countering the long-term decline in population on the island. Both gin and whisky are produced here. Date A point or period of time associated with an event in the lifecycle of the resource 2015 Language A language of the resource English Identifier An unambiguous reference to the resource within a given context 129 Source A related resource from which the described resource is derived highlandandislands,outerhebrides Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 17/10/2024 Contributor An entity responsible for making contributions to the resource sp259 Spatial Coverage Spatial characteristics of the resource. current,57.897705603836876,-6.803385915845595; Date Modified Date on which the resource was changed. 11/25/2025 03:07:16 pm Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Isle of Harris Distillery Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Scotland https://culturality.museum/omeka/files/original/73d977c8f53312caaa9a45c0e7309354.png e32a83887d614adf88d04a159cc029d7 Tour Author iain Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Isle_of_Harris_Distillery Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Isle of Harris Distillery Type The nature or genre of the resource Tour Description An account of the resource The Isle of Harris Distillery was started in 2015 as a sustainable future-proof method of creating jobs and opportunities in Lewis and Harris. It is an attractive opportunity for young generations to return back to their Hebridean homes, countering the long-term decline in population on the island. Both gin and whisky are produced here. Contributor An entity responsible for making contributions to the resource iao@st-andrews.ac.uk Publisher An entity responsible for making the resource available VERAPlatform License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Identifier An unambiguous reference to the resource within a given context 480 Source A related resource from which the described resource is derived tours Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 07/24/2025 12:27:21 pm Spatial Coverage Spatial characteristics of the resource. current,57.8975929,-6.8041222; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://openvirtualworlds.viewin360.co/share/collection/7ZPdr?logo=0&info=0&fs=1&vr=1&sd=1&initload=0&thumbs=1 https://culturality.museum/omeka/files/original/d1f1a74616fd28d9ca747a55f80aa8f7.jpg 79e3c958073d416fcc6d79ac1924b21c Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Isle of Harris Distillery Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024:10:09 16:05:49 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/a9b3d27438f5c293468d216e82de0419.jpg a6470f6344b08c898c999ea708488da3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: Isle of Harris Distillery Identifier An unambiguous reference to the resource within a given context 237 Panorama Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Isle of Harris Distillery Type The nature or genre of the resource Panorama Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024:10:02 14:08:04 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/83447a74cdefa2540f010030370704bb.jpg e0d97a6db31ee4ee84be37da016aad87 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: Isle of Harris Distillery Identifier An unambiguous reference to the resource within a given context 237 Panorama Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Isle of Harris Distillery Type The nature or genre of the resource Panorama Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024:10:02 14:09:09 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/a13f1ba7c63cf85e5e5ff1ad4b12b96c.jpg 85913bc12c96c918125dff769ea35092 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: Isle of Harris Distillery Identifier An unambiguous reference to the resource within a given context 237 Panorama Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Isle of Harris Distillery Type The nature or genre of the resource Panorama Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024:10:02 14:14:40 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/a75edd37d53985f42415f26d07f72166.jpg 823f4fcafd5d05f5483130e70407b09b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: Isle of Harris Distillery Identifier An unambiguous reference to the resource within a given context 237 Panorama Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Isle of Harris Distillery Type The nature or genre of the resource Panorama Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2024:10:02 14:20:29 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE https://culturality.museum/omeka/files/original/7374153a7fb6d886ba9dac9c3f28e1a7.glb 68fcac7c95be55a3f8bfe04e1aabc567 3D Object DescriptionEN English Description A clay jar like this was commonly used in traditional cider-drinking culture. The pottery workshop in Faro was one of the most renowned places for crafting household ceramics. Vertices 48120 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jar Type The nature or genre of the resource 3D Object Description An account of the resource A clay jar like this was commonly used in traditional cider-drinking culture. The pottery workshop in Faro was one of the most renowned places for crafting household ceramics. Date A point or period of time associated with an event in the lifecycle of the resource 2025 Contributor An entity responsible for making contributions to the resource melendezenrique@uniovi.es Format The file format, physical medium, or dimensions of the resource model/gltf-binary License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Identifier An unambiguous reference to the resource within a given context 172eb563fafa495385f5fa6e2cb72bd7 Spatial Coverage Spatial characteristics of the resource. current,43.53689604607413,-5.634997934103013;origin,43.369575343465044,-5.780396461486817; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. 3D Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Universidad de Oviedo Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://sketchfab.com/models/172eb563fafa495385f5fa6e2cb72bd7/embed Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Paula Labrador, Enrique Meléndez y Santiago Rodríguez Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Site: Barn Identifier An unambiguous reference to the resource within a given context 929 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 498 Material Clay Natural Cultural Cultural Function Cider Drinking and Pouring Creation Purpose Household ware Technique Reduction firing Field Worker Enrique Meléndez Galán Place The town or city Muséu del Pueblu d´Asturies Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jar Type The nature or genre of the resource Physical Object Description An account of the resource A clay jar like this was commonly used in traditional cider-drinking culture. The pottery workshop in Faro was one of the most renowned places for crafting household ceramics. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1900/30 Creator An entity primarily responsible for making the resource Pottery Workshop from Faro Subject The topic of the resource Art,PEOPLE,SOCIAL HISTORY Extent The size or duration of the resource. 14cm x 9cm x 11cm Contributor An entity responsible for making contributions to the resource melendezenrique@uniovi.es Identifier An unambiguous reference to the resource within a given context 331 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 16/04/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Xarra Spatial Coverage Spatial characteristics of the resource. current,43.53689604607413,-5.634997934103013;origin,43.3699828510199,-5.780396461486817; Date Modified Date on which the resource was changed. 21/04/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT pottery Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Site: Barn Identifier An unambiguous reference to the resource within a given context 929 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 529 Material Glazed pottery Natural Cultural Cultural Function Cider Pouring Creation Purpose Household ware Technique Wheel-thrown ceramics; painting; glazed Field Worker Enrique Meléndez Galán Craft ceramics Tool Wheel-thrown Place The town or city El Rayu Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jar Type The nature or genre of the resource Physical Object Description An account of the resource Pre-industrial glazed pottery painted with blue motifs that contrast with the white background of the piece. The decoration features lines of varying thicknesses—both vertical and horizontal—which cover the body, the mouth of the jar, and the foot. Originating in the 18th century, this type of pottery was known as “del Rayu” (“from El Rayu”), as most of the workshops were established in that part of the city. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1900/36 Creator An entity primarily responsible for making the resource Pottery Workshop from El Rayu Subject The topic of the resource Art,PEOPLE,SOCIAL HISTORY Extent The size or duration of the resource. 23cm x 17cm x 16cm Contributor An entity responsible for making contributions to the resource melendezenrique@uniovi.es Identifier An unambiguous reference to the resource within a given context 337 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 20/04/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Xarra Spatial Coverage Spatial characteristics of the resource. current,43.53689604607413,-5.634997934103013;origin,43.39462806644227,-5.644783973693848; Date Modified Date on which the resource was changed. 21/04/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT ceramics https://culturality.museum/omeka/files/original/8e82a2d5fcf0c3cb96952bafffba48ab.glb 5552cddcb7b0e59ce4afaef820f108eb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Physical Object:Jar Identifier An unambiguous reference to the resource within a given context 1080 3D Object DescriptionEN English Description A pottery jar with three handles and perforations in the mouth, functioning as a filter for its contents. Vertices 46561 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jar Type The nature or genre of the resource 3D Object Description An account of the resource A pottery jar with three handles and perforations in the mouth, functioning as a filter for its contents. Date A point or period of time associated with an event in the lifecycle of the resource 2025 Contributor An entity responsible for making contributions to the resource melendezenrique@uniovi.es Format The file format, physical medium, or dimensions of the resource model/gltf-binary License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Spatial Coverage Spatial characteristics of the resource. current,43.53689604607413,-5.634997934103013; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. 3D Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://sketchfab.com/models/6df29307d73242dc80bda478528371ff/embed Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Paula Labrador, Enrique Meléndez y Santiago Rodríguez Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Site: Barn Identifier An unambiguous reference to the resource within a given context 929 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 1078 Material Clay Natural Cultural Cultural Creation Purpose Householdware Field Worker Enrique Meléndez Galán Craft ceramics Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Jar Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jar Type The nature or genre of the resource Physical Object Description An account of the resource A pottery jar with three handles and perforations in the mouth, functioning as a filter for its contents. Date A point or period of time associated with an event in the lifecycle of the resource 19th/20th Subject The topic of the resource Art,PEOPLE,SOCIAL HISTORY Extent The size or duration of the resource. 26cm x 16cm x 16cm Contributor An entity responsible for making contributions to the resource melendezenrique@uniovi.es Identifier An unambiguous reference to the resource within a given context 536 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 12/08/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Jarra Spatial Coverage Spatial characteristics of the resource. current,43.53689604607413,-5.634997934103013; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT ceramic https://culturality.museum/omeka/files/original/998c508f413613935209e8b34871d012.glb dcaddcdec5b527d44611816bd942a0dc 3D Object DescriptionEN English Description Single-handled glazed pottery jar, representative of the success of this workshop in the early 20th century. Blue lines stand out against the white surface, with vegetal motifs and lines decorating both the body and the mouth of the jar Vertices 46405 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jar Type The nature or genre of the resource 3D Object Description An account of the resource Single-handled glazed pottery jar, representative of the success of this workshop in the early 20th century. Blue lines stand out against the white surface, with vegetal motifs and lines decorating both the body and the mouth of the jar Date A point or period of time associated with an event in the lifecycle of the resource 2025 Contributor An entity responsible for making contributions to the resource melendezenrique@uniovi.es Format The file format, physical medium, or dimensions of the resource model/gltf-binary License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Identifier An unambiguous reference to the resource within a given context 7121242d3d4940e3a39534e951b25ab0 Spatial Coverage Spatial characteristics of the resource. current,43.53689604607413,-5.634997934103013; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. 3D Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Universidad de Oviedo Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://sketchfab.com/models/7121242d3d4940e3a39534e951b25ab0/embed Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Paula Labrador, Enrique Meléndez y Santiago Rodríguez Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Site: Barn Identifier An unambiguous reference to the resource within a given context 929 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 1103 Material Glazed pottery Natural Cultural Cultural Creation Purpose Household ware Field Worker Enrique Meléndez Galán Craft ceramics Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Jar Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jar Type The nature or genre of the resource Physical Object Description An account of the resource Single-handled glazed pottery jar, representative of the success of this workshop in the early 20th century. Blue lines stand out against the white surface, with vegetal motifs and lines decorating both the body and the mouth of the jar Date A point or period of time associated with an event in the lifecycle of the resource ca. 1900/36 Creator An entity primarily responsible for making the resource 1102 Subject The topic of the resource Art,PEOPLE,SOCIAL HISTORY Extent The size or duration of the resource. 19cm x 14,7cm x 13,8cm Contributor An entity responsible for making contributions to the resource melendezenrique@uniovi.es Identifier An unambiguous reference to the resource within a given context 547 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/08/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Jarra Spatial Coverage Spatial characteristics of the resource. current,43.53689604607413,-5.634997934103013; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT ceramic Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Site: Barn Identifier An unambiguous reference to the resource within a given context 929 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Material Clay Natural Cultural Cultural Creation Purpose Household ware Technique Reduction firing Field Worker Enrique Meléndez Galán Craft ceramics Prim Media 1107 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jar Type The nature or genre of the resource Physical Object Description An account of the resource A traditional Asturian pottery jar, called a “botía,” used to contain and serve liquids. Two handles help in carrying the jar Date A point or period of time associated with an event in the lifecycle of the resource 19th/20th Subject The topic of the resource Art,PEOPLE,SOCIAL HISTORY Extent The size or duration of the resource. 24,6cm x 20,7cm x 18,78cm Contributor An entity responsible for making contributions to the resource melendezenrique@uniovi.es Identifier An unambiguous reference to the resource within a given context 548 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 13/08/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Botía Spatial Coverage Spatial characteristics of the resource. current,43.53689604607413,-5.634997934103013; Date Modified Date on which the resource was changed. 13/08/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT ceramics https://culturality.museum/omeka/files/original/6d190bb3b80cb029f90a7de6139ad82d.glb c24284cf88c2e7fec6667d3ec3c0692a 3D Object DescriptionEN English Description Household ware Vertices 46698 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jar Type The nature or genre of the resource 3D Object Description An account of the resource Household ware Date A point or period of time associated with an event in the lifecycle of the resource 2025 Contributor An entity responsible for making contributions to the resource melendezenrique@uniovi.es Format The file format, physical medium, or dimensions of the resource model/gltf-binary License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Identifier An unambiguous reference to the resource within a given context b477efcc755d49b1a69ea9f298e28a60 Spatial Coverage Spatial characteristics of the resource. current,43.53689604607413,; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. 3D Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Universidad de Oviedo Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://sketchfab.com/models/b477efcc755d49b1a69ea9f298e28a60/embed Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Paula Labrador, Enrique Meléndez y Santiago Rodríguez https://culturality.museum/omeka/files/original/1d7aee21eb33a5f5506d0f7de0f48233.jpg 5186b89a5bd01c2b4c69ffe0e9ca006f Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID LAPONTE_AR_19(01) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jars of honey of different size and candles Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2025-05-05 Spatial Coverage Spatial characteristics of the resource. current,43.27386,-6.0009365; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Carmen Pérez Maestro Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain Artisan An artisan Author iain Prim Media 706 Biographical Text Javier Ortiz del Peño was born in 1963, in the village of Beyo (Aller, Asturias, Spain). In the 2000s he moved to La Castañal, in the municipality of Bimenes (Asturias), where his wife is from and where he established his workshop. Javier is a wood craftsman but it is not his main occupation, although his profession is linked to it. He is a foundry model maker and works with wooden molds. Within the woodworking trades, he works in woodturning, cabinetmaking and carving. Woodworking is a personal vocation. He considers wood to be one of the best materials in existence. Historically, it has been used extensively in technology, tools, art and sculpture, musical instruments, means of transportation such as ships and airplanes, etc. He believes that wood craftsmanship has been fundamental in human development up to modern technology. He studied furniture restoration at a school in Oviedo (Asturias). His first contract was in the same school where he was trained, as a workshop teacher and teacher of Biology and Pathology of wood. The school closed and he continued his teaching work in another school that closed shortly after, so he joined a carpentry workshop, where he worked as a carpenter. He went back to work in a furniture restoration workshop, and from there he went to work in the industry, in a workshop of foundry molds made of wood. Since 1996 he began his activity as a wood craftsman, although he had done some work before. Today, he works with wood on a daily basis. He works with it in his professional occupation, and once the working day is over, he continues in his personal workshop making other wooden objects. He dedicates a good part of his free time to it because he considers it a pleasure and a hobby, in addition to his work. External ID UNIOVI_PR_01 Knowledge Acquisition Javier learnt his skills in a trade school in Oviedo, with several teachers giving theoretical and workshop training. Today, he continues his training with theoretical and practical courses. He considers that practice is fundamental, beyond learning some notions from other people. There is an important margin for improvement in his apprenticeship that the craftsman develops on his own, and this includes trial and error. According to his point of view, a craftsman may specialise in a particular type of production, such as bowl making, and needs to further develop his technique: positioning on the lathe, handling the tool, making the work more effective and having a certain degree of safety, etc. Once he has improved his technique, he can make some changes. Knowledge Transfer No, he does not teach anyone his craft. He does share his knowledge with people who contact him or at public exhibitions. Field Worker Santiago Rodríguez Pérez, Llara Fuente Corripio Gender male Area Relation incomer Area Reason Bello (Aller, Asturias). When he married, he moved to his wife's village. Occupation woodwork Involvment unpaid job/volunteering knowledge1 Woodworking requires a whole range of skills, and many trades have developed around it, specializing in the manufacture of specific elements. The wood turner must recognize the pieces of wood, identify the best cuts, mark, saw, plan the piece he wants to obtain, and work it. A simple piece can take a day's work, but depending on the finish, it can take several days. material1 Its main raw material is wood, generally of local origin. He considers it to be a particularly versatile material, with a long history, and which allows for the creation of a wide range of objects (furniture, tools, housing, etc.) material2 In his work he mainly uses locally sourced wood. He uses a lot of fruit wood, especially for small pieces. For larger pieces, he opts for chestnut or walnut. He discards the use of exotic woods, as he considers that they may have some degree of toxicity. But for small pieces, he prefers to use dark woods rather than dyeing. To obtain wood, he goes to nearby forests in search of fallen trees. Occasionally, some friends offer him pieces of wood. He likes to analyse the pieces, select them, see their properties, assess the type of objects he can create with them, and think about how to work them. He collects dry pieces from nature. However, some types of wood are difficult to obtain, such as yew and holly, which are protected species and cannot be cut, and are not easy to find dried. Still, he prefers to work with wood from a fallen tree near his workshop rather than buying it. Commercial wood offers fewer possibilities, as it tends to be much more uniform, and it is also expensive. Sometimes it is not possible to know its exact origin. However, he sometimes buys some pieces at trade fairs. The materials for the finishes (varnishes, dyes, etc.) are obtained from shops in Barcelona and he buys in bulk with other artisans to reduce costs. He also goes to local fairs and shops, but he uses natural oils, so he has to go to very specific shops. He does not use synthetic resins. material3 The leftover wood scraps, if they are of a certain size, he uses them for the chimney and the heating of his house. He also reuses wood to make other things. Some of his colleagues use the shavings to make pellets and briquettes for domestic heating. production1 Javier works mainly with the wood lathe to produce various objects by turning. production2 In the preliminary preparation of the pieces for the lathe, he uses the chainsaw, the axe and the electric planer to produce small square blocks. The compass is another important tool, as it is used for measuring and marking, and he also has specific, larger compasses for the interior of the bowls. He uses a continuous electric wood lathe to make the pieces, which incorporates a series of gripping plates to hold them. He uses different types of gouges to work the wood. There are specific gouges for hollowing out the inside of the bowls, with different angles of sharpening. He also uses texturisers to make decorations on the surface of the wood, or sandpaper for finishing. production3 In Javier's case, his tools have not been inherited from his ancestors. Over the years, he has been buying new and second-hand tools. He has an interesting collection of old woodworking tools acquired in flea markets and antique shops, as he appreciates the work of old carpentry craftsmen. Some of them have been repaired and he uses them in his work. The tools are stored in his workshop, organised according to their use. The gouges require a great deal of maintenance and sharpening, and each of them has a specific use in the creative process. It would be possible to modernise many aspects of his work, but he still works with many traditional tools. One of his favourite tools is the oblique chisels, because they allow a surface finish on the wooden pieces comparable to the best sanding, despite the limitations. production4 The main source of energy in the workshop is electricity, which is used in some machines and for lighting. It comes from the general grid connection, it has no renewable energy sources for self-consumption, although it would like to incorporate them in the future. The heating comes from the consumption of firewood. production5 Wood chips, shavings and sawdust used to heat the dwelling. workshop The craftsman has a small workshop, located on the ground floor of his house. It has a large window facing south, making it a bright space. In the centre are the large tools such as the wood lathe or the stationary planer, as well as the carpenter's bench. On the walls, the tools are stored on shelves and panels. In the workshop, he keeps part of his handicraft production. He also stores here the wood he uses as raw material. He built the workshop about 7 years ago. Before that he worked in a warehouse in the city where he has his job. It had always been his dream to have his own handicraft workshop. products1 Basically, most of his production is wooden bowls, which is what he sells. But he can make many other things with the wood lathe, which are not necessarily traditional, such as toys, instruments, small sculptures, etc. He also makes experimental pieces to explore the possibilities of a material, pushing the limits of the material and the technique. products2 He produces pieces for himself or as gifts for friends, and sells others. But he does not have enough production to have regular sales and be able to make a living from his artisan work. He understands that his production is not of basic items and he finds it difficult to make a living from it. He prefers to keep his main job, which is more stable and secure, as sales of handicrafts are very variable. products3 He usually sells his pieces at local markets, such as the Mercáu Tradicional La Puente Arriba in Grátila (Nava, Asturias). If someone contacts him, he also sells him a piece. products4 Although he does not hold workshops to teach his craft to others, he does give demonstrations of his work. The association to which he belongs (Les Forgaxes) often gives public demonstrations of woodturning, carpentry and carving at events and fairs, to bring the world of woodworking closer to the people. These meetings are open to the general public, and allow them to share experiences and knowledge with other craftsmen and enthusiasts. products5 Mainly restoration work on antique wooden objects, furniture, etc. products6 It depends on the type of pieces offered. For example, young people rarely buy items such as bowls, which they see no use for. They may buy some items as gifts. Other objects, such as toys or small musical instruments, are usually gifts from parents to children. There is not a very marked customer profile, nor by origin, he sells objects to local people and tourists. products7 No, nor does it have its own brand or logo. He would like his work to be recognised with a quality label. However, as he is not self-employed, he is not officially recognised as a craftsman in the government register, so he cannot have a label as a craftsman of Asturias. There are many others in his situation, who combine craftsmanship with a main activity. tourism1 No, Javier does not have any links with tourism, nor does he carry out any specific activities for tourists, but he would not mind participating in them. partnership He is part of an association of wood craftsmen called the Asociación de amigos de la madera ‘Les Forgaxes’. They hold an annual meeting of wood craftsmen. Here, public demonstrations are held, and leading national and international craftsmen are invited to hold workshops. They are spaces where knowledge is shared. They also talk to other artisans, with whom they share knowledge. challenges1 He considers that crafts are little publicised and have low visibility in society. There is no public support. In the case of his association, they receive a very small subsidy for annual events and everything is based on their altruistic work. On the other hand, there are many artisans who do very interesting work, but have to combine it with salaried work in other sectors. This prevents them from gaining recognition as artisans and a quality label, which is restricted to self-employed artisans who make a living from their production. challenges2 "todo el trabajo que hacemos nosotros, en el caso de la madera, no cubre [los costes de los eventos]" "conozco a muchas personas que hacen cosas de artesanía […], pero como artesanos no existen, la exigencia es que tienen que estar dados de alta, pero hay mucha gente que hace" references Asociación de Amigos de la Madera "Les Forgaxes": https://www.forgaxes.com/ Social Media The social media links. instagram,https://www.instagram.com/picutorneru/; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Ortiz_del_Peño,_Javier Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Javier Ortiz del Peño Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1963 Language A language of the resource Asturian,Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 405 Source A related resource from which the described resource is derived artisans,asturiasmap,people Spatial Coverage Spatial characteristics of the resource. current,43.3335411671039,-5.5446023832244; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Ortiz del Peño, Javier https://culturality.museum/omeka/files/original/dcdd65939d21575739a08dcb9be9f44d.jpg cf3dd5153bd2e78724b3305a4c4db19b Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID UNIOVI_PR_01(01) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Javier Ortiz del Peño's workshop Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2024-11-27 Spatial Coverage Spatial characteristics of the resource. current,43.3335455978306,-5.5446023832244; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Llara Fuente Corripio, Santiago Rodríguez Pérez Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain https://culturality.museum/omeka/files/original/abdded10be9628ab1095ff3507fd7ae1.jpg d5c5f35726d4e8a5c2c6e2a4e96af9c0 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Javier Ortiz del Peño's workshop Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Date A point or period of time associated with an event in the lifecycle of the resource 2025-01-30 Spatial Coverage Spatial characteristics of the resource. current,43.3169333969445,-6.13166887325786; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Santiago Rodríguez Pérez Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible Context The traditional Asturian women's attire includes necklaces and earrings made of jet. Field Worker Carmen Pérez Maestro Technological Threats Surge of new technologies Weakened Practice Reduced practice Loss Threats Loss of knowledge,Material shortage,Loss of cultural significance SDG Gender Equality,Decent Work and Economic Growth External ID LAPONTE_CP_02 Knowledge Firstly, the knowledge of jet extraction, which was carried out by men until the mid-20th century. The raw pieces were extracted seasonally by the farmers themselves. The mines, which were of little significance, mainly consisted of small linear galleries following the mineral veins. Currently, jet mining is not permitted, and contemporary artisans work with the remnants of these extractions that remained on the surface. Secondly, the skill of stone carving, which was traditionally done with a chisel and is now performed with precision mechanical tools. Knowledge Transfer The lack of raw material makes the transmission of the craft easy and abundant. In rare cases, the artisan delegates the learning of all their techniques to one person, as the profession is in danger of extinction, despite having been recently declared a Cultural Heritage Asset in Asturias.There are practically no active jet artisans who are familiar with traditional carving methods using hand tools. Mechanical systems have been introduced, which are not deeply rooted in the tradition, leading to a delicate situation in this regard. Practitioners In the past, only men were involved in jet work, although it seems that it was the women who did the final touches on the pieces. Today, the majority of those engaged in this activity are women, and most of them combine jet work with other materials such as silver, also applying jewelry-making techniques. Function Currently, the people of the region take pride in the existence of this artisanal tradition, despite the disagreements between the two existing associations. Jet continues to be seen as a protective element, which means that the pieces made from this material are valued not only for their beauty but also for their symbolic significance. Origins and change In Asturias, jet has a long tradition. The oldest pieces are documented in the Cave of Las Caldas, dating back 19,000 years to the Solutrean period. A jet bead was found in the tomb of Monte Areo (tomb XV), part of a burial set from the 5th millennium BC. Jet use is also documented in Camoca and Moriyón, near the Villaviciosa estuary, as well as in the Roman-era town of Veranes.Traditionally used as a symbol of protection and good fortune, jet was commonly worn by pilgrims on the Camino de Santiago from the 11th century onward. Oviedo, a key stop on the Camino Primitivo, became an important center for jet trade and craftsmanship. By the 14th century, Asturian workshops gained fame for the quality of their carvings.After the decline of the Camino de Santiago, jet gained a resurgence due to a historical event. Following the death of Prince Albert in 1861, mourning became fashionable in Victorian society as a symbol of support for Queen Victoria. This was not a passing trend, as she wore mourning attire for the rest of her life and made extravagant use of jet jewelry, which was ideal for this occasion.Today, jet is primarily used in jewelry, and one object that has continued from the past is the "mano" or "figa," whose protective symbolism still endures. Organisations In 1999, "Acebache" was created in Villaviciosa, an association aimed at developing the jet tradition of Asturias. This collective includes not only artisans with their respective workshops, but also experts. In 2017, this association split, leading to the creation of "Azabache Jurásico de Villaviciosa," also composed of artisans and experts in this heritage. Places Monographic Jet Fairs in Asturias:Ribadesella and Tazones host specialized fairs dedicated to Asturian jet, where artisans, experts, and enthusiasts gather to showcase and celebrate this traditional craft. These events highlight the historical and cultural significance of jet, featuring exhibitions, demonstrations, and handcrafted jewelry.The Azabache Fair of Oviedo is an other event that celebrates the tradition and craftsmanship of Asturian jet. Held in the historic center of the city, it brings together artisans, jewelers, and experts who showcase their handcrafted pieces Artefacts Figa or Jet Hand: Protective amulet against the evil eye and negative energies. Rosaries and Beads: Used in religious devotion, combining jet with other noble materials. Earrings and Pendants: Traditional and contemporary designs in which jet is set in silver. Brooches and Cameos: Finely carved pieces, especially popular during the Victorian period. Technological Threats Description Traditional carving techniques are no longer used; they have been replaced by mechanical methods. Weakened Practice Description There is no generational continuity in learning the craft Loss Threats Description The prohibition of raw material extraction has led to very limited supplies. This has also resulted in the inclusion of other minerals, such as those from Turkey, which are not authentic Asturian Jurassic jet. Safeguarding activities Both associations engage in promotional activities to spread awareness of Asturian jet craftsmanship, including organizing events, workshops, and demonstrations. Additionally, jet sales fairs are held, where artisans showcase and sell their handcrafted jet pieces, helping to preserve and promote this traditional craft. State of the practice declining Social sustainability Gender Equality: Traditionally, jet craftsmanship was dominated by men, but today, many women are involved in the craft, often combining it with other materials like silver. This shift has provided women with opportunities for economic independence, skill development, and recognition as artisans.Community Development: The jet industry has supported local economies in Asturias, particularly in regions like Villaviciosa and Gijón. Craftsmanship creates jobs and stimulates local commerce, with fairs and exhibitions drawing attention to the region. Environmental sustainability Use of Natural, Locally Sourced Materials: Jet is a natural material that has been traditionally sourced from the region of Asturias, specifically from the Jurassic period deposits. The use of locally sourced jet minimizes the environmental impact associated with transportation and supports local geology and heritage. As it is a non-renewable resource, its extraction has been regulated to ensure that it does not overly deplete local resources.Sustainable Craftsmanship Practices: The methods used by artisans today, although increasingly mechanical, often rely on precision tools and small-scale, localized production, as opposed to mass industrial production. Energy Efficiency: Traditional jet carving methods required hand tools, while modern mechanical tools (e.g., Dremels or carbide tools) are more energy-efficient than heavy industrial machinery. Though not fully sustainable in energy use, these tools consume far less energy than large-scale manufacturing processes. Economic sustainability The Azabache fairs and markets provide artisans with opportunities to showcase and sell their work, both locally and internationally. These events attract tourists and buyers interested in traditional craftsmanship, which expands market access for local artisans. Artisans working with jet often combine it with other materials such as silver or gold to create jewelry, which broadens their income potential. For example, artisans who produce traditional jet jewelry can also expand into contemporary designs to cater to different markets, diversifying their income sources. Place The town or city Villaviciosa and Gijón area, Asturias, Spain Place Description Jet is the most well-known and widespread gemstone found in Asturias. The area of Villaviciosa and Gijón is the epicenter of both its extraction and its transformation into jewelry pieces.The layers of jet are located in the highest sections of the Upper Jurassic, from the Kimmeridgian age, consisting of alternating sandstones, marls, and dark silty clays. It originated from woody trunks that were carried and deposited between the sandstones of the well-known Lastres Formation, although it is also found in the so-called La Ñora and Vega formations, in a transitional sedimentary environment.There are precedents for the recognition of the existence and quality of Asturias' jet in foreign scientific publications as early as the 19th century. Prim Media 712 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jet culture Type The nature or genre of the resource Intangible Description An account of the resource The presence of high-quality jet deposits in Asturias enabled, since ancient times, its mining and artisanal use, giving rise to a culture centered around the properties of this unique mineral. Its believed protective nature generated strong demand for handcrafted creations, which were sold mainly outside the region, both in traditional forms like amulets and in more unique versions, as various pieces of jewelry Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 407 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://www.youtube.com/watch?v=X7CzYi6DnR0 Campón, E., Fernández, C. J., & Solans, J. (1978). El azabache de los yacimientos de Oles (Asturias). Trabajos de Geología, (10), 161-167. Vevia, M. V. B. (2024). El azabache asturiano y la reina Victoria. ArqueoTimes, (9), 36-38. Mata, Á. F. (2005). Iconografía jacobea en azabache. Los Caminos de Santiago. Arte, Historia y Literatura, 169-212. Menéndez Menéndez, A. (2021, January). Aproximación al pasado, presente y futuro de la industria azabachera, un patrimonio cultural, material e inmaterial, en vías de extinción. In I Simposio anual de Patrimonio Natural y Cultural ICOMOS España (pp. 479-492). Editorial Universitat Politècnica de València. Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 18/06/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Cultura del azabache Date Modified Date on which the resource was changed. 18/06/2025 Creator An entity primarily responsible for making the resource 683 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: University of St Andrews Identifier An unambiguous reference to the resource within a given context 4 Intangible State of the practice thriving Field Worker Carmen Pérez Maestro External ID LAPONTE_CP_02 Place The town or city Villaviciosa and Gijón area, Asturias, Spain Place Description Jet is the most well-known and widespread gemstone found in Asturias. The area of Villaviciosa and Gijón is the epicenter of both its extraction and its transformation into jewelry pieces.The layers of jet are located in the highest sections of the Upper Jurassic, from the Kimmeridgian age, consisting of alternating sandstones, marls, and dark silty clays. It originated from woody trunks that were carried and deposited between the sandstones of the well-known Lastres Formation, although it is also found in the so-called La Ñora and Vega formations, in a transitional sedimentary environment.There are precedents for the recognition of the existence and quality of Asturias' jet in foreign scientific publications as early as the 19th century. CINE only true Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jet culture Type The nature or genre of the resource Intangible Extent The size or duration of the resource. x x Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 408 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 18/06/2025 Date Modified Date on which the resource was changed. 15/09/2025 Description An account of the resource The presence of high-quality jet deposits in Asturias enabled, since ancient times, its mining and artisanal use, giving rise to a culture centered around the properties of this unique mineral. Its believed protective nature generated strong demand for handcrafted creations, which were sold mainly outside the region, both in traditional forms like amulets and in more unique versions, as various pieces of jewelry Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Cultura del azabache Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. University of St Andrews Artisan An artisan Author iain Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Jonas_Haglund Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jonas Haglund Type The nature or genre of the resource Artisan Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 465 Description An account of the resource The husband of Carina Haglund who works with her. Source A related resource from which the described resource is derived artisans Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Jonas Haglund Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Sweden Artisan An artisan Author iain Biographical Text Jorque Toquero Román was born in Tudela de Duero, a village in the province of Valladolid, in 1974. He currently lives in Santalla de Oscos. Craftsmanship is his way of life. Before dedicating himself to craftsmanship, he worked for eleven years in the construction sector. Although his father owned a construction company and life led him in that direction, he never felt truly fulfilled. When he was born, his village had around 5,000 inhabitants; today, it has grown to over 11,000. He was always drawn to rural life and wanted to remain in that environment. One of the reasons behind his decision to change paths was precisely that: to stay connected to rural living. He found out that there were knife-making courses in Taramundi, offered through a training workshop. He was already familiar with the Taramundi knives and found the subject appealing, so he decided to give it a try, hoping he could make a living from crafting knives. And he succeeded. For him, it was an opportunity he didn’t let slip by. He lived in Taramundi for five years. Later, he broadened his experience through several trips to Japan, where he worked in knife-making workshops in Tokyo. From that point on, he decided to set up his own business as a knife-making artisan, creating handmade products that blend the traditional craftsmanship of the Oscos-Eo region with Japanese knife-making techniques. External ID UNIOVI_PR_06 Knowledge Acquisition Jorge received his initial training in knife-making in Taramundi, at a workshop school. There, he learned everything necessary to begin the process of crafting knives and folding blades. Years later, he traveled to Tokyo and attended a knife fair in Ginza. He was struck by the level of finish in Japanese knife-making—it was so refined that he even questioned whether the pieces were truly handmade or industrially produced. To him, it seemed incredibly complex. He established relationships with several Japanese knife artisans and began learning to work as they did. Keiko’s father, his wife’s father, owned a metal supply warehouse in Tokyo and encouraged him to improve his craft. He gave him a significant push to focus more on finishing techniques, which are highly valued in Japan. Finishes, heat treatments, and other details are essential, as Japanese knife-making strives for excellence and the highest standards in both materials and cutting quality. Part of his training has been self-taught, which he sees as intrinsic to the artisan’s path. The more you work, the more you learn, and daily practice leads to improvement. This is one of the pillars of Japanese artisan philosophy: to improve a little every day. Not through big leaps, but through the ambition to surpass oneself, to be slightly better each day. He also undertook specific training programs. His first trip to Japan was aimed at learning traditional Japanese techniques for working with iron and steel. There, he trained in several knife-making workshops to learn different methods and approaches. Knowledge Transfer He has not had any apprentices, nor has he conducted training courses for others. Field Worker Santiago Rodríguez Pérez Lucía Pérez Fernández Area Relation incomer Area Reason Jorge moved to this area around the year 2000, driven by his interest in establishing himself as a craftsman Occupation metalwork Involvment full-time paid job knowledge1 Jorge believes that thoroughly understanding the craft and mastering its various techniques is essential. A craftsman must have basic knowledge of metallurgy, be able to interpret tempering diagrams, and know how to properly work with steel. That is fundamental. Finishing and polishing can be learned over time, but working steel correctly is indispensable. A deep understanding of forging techniques is also necessary, as the quality of the pieces depends on it. If things aren’t done properly, the raw material can be ruined. It’s not just about heating a piece of iron any which way and stretching it—specific knowledge and the right tools are required. He also considers hand tools to be important and has made an effort to preserve that aspect of the trade. material1 He primarily works with stainless steels and carbon steels, although in some less frequent pieces, he uses antique iron. In certain works, he combines carbon steel with antique iron. He often uses Japanese steel in his creations. He frequently employs the Sanmai technique. In Japanese, san means “three” and mai means “layers.” He crafts the blades using this ancient method, which combines multiple layers of steel and iron. Another technique he occasionally uses is Gonmai (five layers). When working with stainless steels, he turns to a modern technique called Suminagashi. This method creates a pattern resembling wood grain or floating brushstrokes, similar in appearance to Damascus steel, though it is not traditional Damascus but rather a decorative laminate. The materials he uses are not difficult to obtain; all are available within Europe. Nowadays, thanks to the Internet, it is possible to access suppliers offering a wide range of steels and qualities. material2 Some of the materials he uses come from Japan, such as shirogami, aogami, and other steels. The basic stainless steel he works with, ACX 380, comes from Albacete (Spain). The softer steels, used for items that do not require high cutting performance, are sourced from Lugo (Galicia). More specialized steels, though not Japanese, are supplied by a French distributor. He also works with German suppliers, but his main sources are Japanese, French, and Spanish—particularly from Albacete. The most special and highest-quality steels come from Japan or France. He has no difficulty obtaining materials, as there are many distributors accessible online. In the past, he worked with a supplier from the Basque Country, which has since closed. As for the handle woods, he mainly uses locally sourced briarwood and boxwood. The boxwood currently comes from Navarra, though he used to source it from Huesca. For his more elegant series, he uses woods commonly found in musical instruments, such as ebony, grenadilla, ironwood, or violetwood. The reason is the same as for luthiers: these denser woods are less affected by humidity. In instruments, this prevents detuning; in knife-making, it prevents misalignment of the parts. The denser the wood, the less it reacts to moisture, helping maintain pressure and ensuring a better fit between the blade and the handle. A folding knife that relies on the pressure of the wood to hold the blade in place may require frequent adjustments if made with softer woods, as they are more sensitive to humidity changes. Boxwood has a high density—around 960 kg/m³—which helps prevent such variations. Grenadilla is even denser, reaching 1,240 kg/m³. He always uses fine hardwoods in his knife-making. material3 Metal waste is generated during the process. The leftover wood is used as fuel in a wood-burning stove for heating, and the sawdust is used for composting. As for the metal, since it cannot be easily recycled, it is properly disposed of. production1 In the work of forging and knife-making, there is no single process, but rather a combination of multiple techniques that result in diverse pieces and finishes. Jorge combines the knowledge he acquired during his training as a knifemaker in Taramundi with the techniques he learned during his successive trips to Japan. One of the forging techniques he uses most frequently is the combination of steel with old iron, a hallmark of Japanese knife-making. When iron is melted, it absorbs carbon from the charcoal and becomes carburized. To eliminate bubbles from the casting, it is heated, hammered, and compacted. Then, the piece is stretched, folded, and joined at temperatures close to 1200 °C. This process is repeated between 10 and 15 times, generating the visible longitudinal lines on the blades—these are the accumulated folds. This is the process of original Damascus steel. The characteristic pattern of Damascus steels comes from the steel ingots that were imported to Syria from India. These folds give the steel great flexibility, allowing it to bend and return to its shape without breaking. The folding process imparts valuable mechanical properties to the metal. Katanas, for example, are made using this technique, combining iron cores with steel and applying multiple folds. This method was common in the manufacture of bladed weapons, as it allowed them to absorb the impact vibrations without fracturing. Polishing was a technique Jorge perfected during his third trip to Japan. By then, he had already mastered finishing techniques with Tanaka, his master, with whom he met other experts in polishing techniques and trained with them. Taramundi provided him with the foundations of the knifemaking craft, and from there, his evolution as an artisan began. Another fundamental technique is grinding. Starting from steel sheets, a blank is cut in the desired shape and ground with an emery wheel to define the edge. The grind can be concave or convex. Jorge believes that knife-making allows him to develop his creativity, working with different materials such as wood and metal. He has always been interested in doing artisanal, manual work—work made by hand. The technique used depends on the type of piece to be made. For example, for a blade made by stock removal, the blank is cut, ground with an emery wheel, and then normalized in an electric furnace, depending on the type of steel. Depending on the alloying elements and the percentage of carbon, different heat treatments and specific temperatures are applied. After normalization, hardening is carried out. For knives made by stock removal, he uses 0.5 mm stainless steel foil to wrap the piece like an envelope, creating an oxygen-free atmosphere. He preheats the furnace to the appropriate temperature for the steel, as well as the oil in which the piece will be quenched. Then he performs the hardening and subsequently three tempering cycles, each at a specific temperature depending on the material. Once tempered, he sharpens the blade and, in some cases, performs a mirror polish. For polishing, he starts with 400-grit sandpaper to remove marks from the abrasive belt and progressively increases the grit: 600, 800, 1000, 1200, 1500, 2000, and 2500. Finally, he polishes with compound and cloth, achieving a mirror finish. As for the handles, he uses materials such as micarta, G10, and fine woods. These pieces are usually accompanied by leather sheaths. To make the handles, he draws the template on the wood sheet based on the blade, cuts it out, and shapes it with a sander. In other pieces, he uses a tang, and from the wood block, he shapes the handle. production2 There are many tools involved, ranging from traditional ones used in artisanal iron forging (such as anvils, hammers, and forges) to much more modern equipment. Jorge understands that, in order to guarantee a minimum level of quality, he needs at least a tempering furnace and the ability to control temperature during the forging process. On his first trip to Japan, he discovered the importance of temperature control when working with different types of steel. Each steel has its own specific characteristics, so it is essential to work within its appropriate temperature range. If those limits are exceeded during forging, the metal deteriorates and becomes irrecoverable. He also considers manual tools to be important and has made an effort to preserve that traditional aspect of the craft. Certainly, nowadays they are not strictly necessary, but proper forging improves the final product—provided one knows how to forge. On one of his trips to Japan, he worked with the same tools that were traditionally used in Asturias: hammer, anvil, forge, etc. Over time, however, he sought out experts, conducted research, and improved his training. He concluded that if you don’t know how to do things properly, you end up damaging the raw material. If traditional forging is used, it must be used correctly. It’s not enough to simply heat iron any way you like and stretch it. A whole body of technical knowledge is required, along with specific tools. An electric furnace is essential. This type of furnace is indispensable for processes such as normalization. With certain steels, it is necessary to maintain the piece at 600 °C for a specific period of time, which can only be achieved with an electric furnace capable of reaching and sustaining that temperature. In a traditional forge, this is simply not possible. production3 He keeps using traditional forging tools because he considers it important not to lose that connection with the past. Certainly, with the means available in earlier times, there were artisans capable of creating true marvels. Nowadays, if you have the right knowledge and know how to handle the tools, you can produce very high-quality pieces. To get started in the craft, there are a number of basic tools: first, a forge with a pyrometer (type K probe), an electric furnace, a belt sander, polishers, a milling machine (not essential, but useful), and a lathe for shaping handles. He owns a copy lathe, although he usually finishes the knives by hand. One especially important tool is the electric furnace, which is essential for giving the steel good cutting quality. You can make beautiful tools, but without that furnace, the steel won’t acquire the necessary properties for proper performance. production4 Electric furnaces have a power range between 2000 and 2400 W, which means energy consumption is high. For now, they do not work with renewable energy sources, except for the wood-burning stove used to heat the workshop. Jorge would love to have access to renewable energy, but currently lacks the resources to afford an installation of that kind. It is something desirable for the future. production5 Metal scraps are generated during the process. The leftover wood is used in the wood-burning stove for heating, the sawdust is composted, and the metal (since it cannot be recycled) is removed and discarded. workshop Jorge runs his knife-making workshop in what used to be the chicken coop of their home, which they have converted and expanded into a metalworking studio. They’ve had the workshop since 2012 and officially opened it in 2013. It was originally a small shed, which they significantly enlarged and fitted with large windows that let in natural light for working. The workshop has a back area where all the tools and the forge are located, with separate spaces for the polishing machine and other equipment. At the front, there is a small shop where they display and sell their work to the public. Jorge shares the workshop with iron artisan Keiko Shimizu, who is also his wife. products1 The workshop mainly produces knife-related items, including both folding knives and various types of fixed-blade knives. Jorge started with fixed-blade knives and later began developing folding knives with greater technical complexity. Profitability is always a challenge: some periods see better sales than others. He takes on the challenge of making different types of products, but even though some pieces require a great deal of work, they don’t always sell, so he must adjust production to market demand. His artisanal production is focused on quality, that is his top priority: to produce high-quality work. However, in order to sustain the business, he also needs to make affordable items. His goal, though, is to produce high-end, quality pieces, and he enjoys crafting them. High-quality folding knives tend to sell well. In fact, if he were to learn another craft, he would be interested in working with jewellery-making techniques, which he could also apply to his knife production. products2 The main purpose of all his production is for sale. Most of it is sold directly to the public, while another portion is through custom orders. products3 There are several sales channels. On one hand, his own website, where he sells part of the artisanal production he makes. He also has a physical shop within his workshop, where he sells directly to the public. Some pieces are sold through distributors. They no longer attend craft fairs or traditional markets, as he no longer considers them worthwhile. He also receives custom orders from clients looking for exclusive handmade knife products. products4 He is fully dedicated to his craft and does not offer other types of services. products5 If a client were to request a review or repair of a piece, he would be able to do it without any problem. products6 Jorge has a diverse customer base. On one hand, tourists visiting the area who purchase his products either directly from his home or through small local distributors. On the other hand, knife collectors. These are the two main customer profiles. Some clients buy a folding knife for everyday use, without any particular expectations, while others are looking for exclusive artisanal pieces. He offers knives ranging from €18 to over €600. products7 There are no labels, quality seals, or protected geographical indications for the artisanal knife-making work carried out in western Asturias. Efforts are being made in this direction, but as of today, there is no certification in place. So far, no such seal has been obtained. tourism1 He does not carry out specific activities for tourists, beyond producing items for sale that are purchased by visitors. tourism2 “Pero el turismo tiene un límite. Mientras la economía funcione, habrá turismo, pero es un sector muy dependiente de otras circunstancias. El turismo también se vendió, pero da para lo que da, y no da para mucho. Los habitantes del medio rural tienen que sostenerse y hacer frente a estos cambios, y no fiarlo todo al turismo como sector económico.” “El turismo de los Oscos es todo nacional, y mientras la economía vaya bien, hay turismo, pero es variable, durante las crisis no hay flujos turísticos. Es algo variable.” partnership He does collaborate with other artisans. For example, in partnership with a fellow craftsman from Fonsagrada, a neighbour, he designed a circular ring locking system for folding knives. He has worked with him on other creations as well. He also collaborates with public institutions, such as the Santalla d’Oscos Town Hall, where he resides. challenges1 There is a generational crisis among artisans, who are increasingly aging. In Jorge’s region, artisanal activity continues, but more workshops are closing and there is no generational renewal. This crisis should have been addressed years ago.He mentions some initiatives in rural areas of other regions that aim to find people willing to take over businesses from those retiring, such as bakeries. If these businesses close, villages lose vitality. When services are available, population can be retained. One of the major challenges in rural areas is retaining population. It is essential, but very difficult. Tourism helps to some extent, but it is not enough. Retaining population would allow for the maintenance of a range of basic services. In Taramundi, for example, a few years ago there was a tourism boom, which led to the creation of many businesses. However, there is now a crisis. Years ago, towns like Taramundi and Santalla were economic drivers linked to tourism. When Fritz (Ferreiros de Mazonovo) and other artisans arrived, the region began to thrive, but now Jorge believes it has stagnated again. There was interest in attracting newcomers, but the people who were young yesterday are now older, and a new generational shift is needed, yet there is no guarantee of renewal. Another serious issue is housing. People come looking for homes, but there are none available, and prices are high. It is difficult to find jobs in rural areas that allow people to afford housing, as salaries are low. Access to mortgage credit is limited. Housing is scarce, and prices have risen significantly in recent years, making it hard for people to settle. Some people want to move to the area, but there is no housing, and the little that exists is overpriced. This prevents new residents from settling and creates a future crisis. Those who do come often have high purchasing power, are elderly, or use the houses as second homes. This external demand also drives up prices and limits access to housing. Housing is perhaps the greatest challenge facing rural areas today. Houses become second homes, and villages end up depopulated because no one can afford to live there permanently, nor do they bring children to the area. Access to housing is complex, and so is access to employment in rural areas, where job opportunities are limited. Jorge believes that as long as tourism exists, they will be able to survive. The challenge is to maintain tourism. Another major challenge is preserving basic services such as education and healthcare. Demographics are also in crisis. For Jorge, housing is the main challenge in the rural area, perhaps even more than employment. Secondly, he believes that newcomers must create their own jobs. Tourism generates some employment, but very little. Livestock farming is difficult to enter without access to land, and there are already farmers in the area. It requires a lot of land. Some people come and try, but it’s also complicated because the population is small, there are few clients, and businesses struggle to survive on the limited income from residents. Other businesses lack generational continuity. Another challenge he identifies is the need to maintain tourism and preserve basic services such as pharmacies, schools, and health centres. In Santalla, basic services are barely maintained. Then there is the issue of remote work. In the post-pandemic years, remote work was considered a possible solution to depopulation. When Jorge researches and innovates in the creation of new pieces, he explores new paths through manual and traditional craftsmanship. He believes knife-making is deeply connected to the culture of a people. He feels that if he can make a living from his craft and is happy doing so, then it is perfectly valid. In the traditional knife-making of the region, there are many other perspectives that are also valuable. challenges2 “Éramos jóvenes, pero empezamos a ser viejos, y necesitamos que venga otra generación” […] “No hay garantía de continuidad”[…] “Hay gente que quiere venir pero no hay viviendas, y las pocas que hay, están a esos precios (desorbitados)”. La gente joven, con capacidad de generar vida otra vez en el pueblo, no puede acceder.” "La capacidad de acceso a un puesto de trabajo que te permita adquirir las viviendas, también es difícil. O traes el dinero para hacer la inversión, o imposible.” references La Nueva España. (2024, September 7). Santalla revisa el pasado navalleiro. La Nueva España. https://www.lne.es/occidente/2024/09/07/santalla-revisa-pasado-navalleiro-107854901.html Jardón, M. (2024, June 9). «Continuamos la tradición cuchillera de la localidad, que tiene más de 200 años». Pegados a la Tierra. https://pegadosalatierra.elcomercio.es/hyottoko-artesania-santa-eulalia-de-oscos-asturias/ Muñiz, I. G. (2023, June 16). Hyottoko, forja y navajas a fuego lento. Fusion Asturias. https://fusionasturias.com/otras-secciones/arte-y-museos/hyottoko-forja-y-navajas-a-fuego-lento.htm RTPA – Radiotelevisión del Principado de Asturias. (2022, November 22). TPA a la carta: Dr. Lobo, del martes 22 de noviembre de 2022. RTPA. https://www.rtpa.es/video:Dr.-Lobo.--T.3-Cap.-9-Santa-Eulalia-de-Oscos_551669166581.html España Artesana. (n.d.). Hyottoko. España Artesana. https://espanaartesana.com/hyottoko be-glu.com. (2024, August 13). Hyottoko Artesanía. https://be-glu.com/en/hyottoko-artesania/ Social Media The social media links. facebook,https://www.facebook.com/hyottokoartesania;instagram,https://www.instagram.com/navajashyottoko/; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Toquero_Román,_Jorge Prim Media 2005 Shop https://www.hyottokoartesania.com/comprar/ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jorge Toquero Román Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1974 Language A language of the resource Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 777 Spatial Coverage Spatial characteristics of the resource. current,43.25921735207668,-5.993868917107711; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Toquero Román, Jorge Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://www.hyottokoartesania.com/ Artisan An artisan Author iain Prim Media 1529 Biographical Text José Ángel González del Río was born in 1962 in Cuero (Candamo). He began working in basketry at the age of 12, a craft to which he has devoted his entire life and which has been his main source of income. He learned the art at home, guided by his grandfather and father, making various objects. During his youth, he worked alongside his father in the family workshop, where they produced pieces that were sold to local shops, which then handled their distribution. Later, he moved to Oviedo to work in another basketry workshop for two years, although the working conditions there were not favorable. At the age of 27, he decided to become self-employed, founding his own basketry business, an activity he continues to pursue to this day. Around 1985, he moved to the town of Grau/Grado, where he currently resides. Although the workshop was located in his hometown, the lack of basic services—such as a telephone, whose installation was very expensive at the time—and limited access to transportation led him to relocate to a larger town. The distance between the two places is just five kilometers. He plans to retire in 2027. External ID UNIOVI_PR_08 Knowledge Acquisition José works in the workshop with his sister Mari. Both acquired their knowledge and skills in basketry from their grandfather and father, who were basket makers in the village of Cuero (municipality of Candamo). In the 1970s, almost every household in the village made basketry items. There was even a wicker and chestnut workshop that employed around 20 people. Another workshop existed in the nearby town of Forcinas (Pravia). Basketry was an alternative source of income for farms, alongside agriculture and livestock. Both men and women worked in the trade, sharing the tasks. The family business was started by their grandfather in a home-based workshop, and their father continued the work. They were dedicated exclusively to basketry and did not practice other trades such as carpentry. José would have liked to learn other crafts as well, such as wood carving. Knowledge Transfer He hasn’t had any apprentices, nor has anyone shown interest in learning his craft directly from him. He has taught many basketry workshops at craft fairs, and even some outdoors in the garden of his home. However, these are very basic courses, held in a single afternoon, where participants leave with a finished basket—but they’re not enough to truly learn the trade. He believes that making complex items, such as armchairs or custom-sized boxes, is much more difficult and cannot be learned in just one afternoon. It’s not a craft you can master in six months. To reach the level of making pieces like an armchair, José spent many years working with his father from a young age, gradually learning to make each part. He would make the base, and his father the upper part. Through hands-on experience and constant observation, he learned how to make them. Chairs, for example, involve a certain level of complexity. He would be willing to teach his craft to others without hesitation. He has no problem sharing his knowledge. But very few people show interest in basketry, and he has never had an apprentice who wanted to continue the trade. Occasionally, people come asking for short courses and such, and he has had a few students who showed genuine interest in learning. At times, people have suggested that he bring someone else into the workshop, both to help and to pass on the craft. But as José says, “you don’t earn enough to pay them.” Of course, they would have to be hired as employees, which means covering their salary, taxes, and social security contributions. Field Worker Santiago Rodríguez Pérez, Gender male Area Relation native Involvment full-time paid job knowledge1 There’s an Asturian saying that goes, “Whoever makes one basket can make a hundred.” But well, that’s not always the case—basketry requires a certain level of skill. The craftsperson must understand the raw material and know how to prepare it—wicker—giving it the right level of moisture. Patience is also essential, as making each piece takes time and dedication. It’s important to know some basic techniques. Weaving is relatively easy; the most complex parts are the finishing touches, the handles, and shaping the piece… material1 The basic material used by José and Mari in their workshop is wicker. They mainly work with buff wicker, but also use white and black wicker. All these materials come from the same tree; the difference lies in how they are processed: white wicker is obtained by peeling the bark off the branches, while buff wicker is cut and boiled with its bark on, which gives it its characteristic bright orange tone, before being peeled. Black wicker is produced by boiling it several times in succession. Boiling does not improve the material’s properties—it simply changes its color. They also use natural, unpeeled wicker. Buff wicker is the most commonly used in basketry. All types are workable, although white wicker may be easier to handle, as it is a more noble and malleable material. They also work with rattan, a material that comes from Asian countries and is derived from a climbing plant. Due to its fineness and flexibility, it allows for greater creativity and the creation of much more complex shapes. They use chestnut wood as well, though in smaller quantities. Hazel (also known as ablano), which was traditionally widely used in basketry—especially by cutting thicker trunks to obtain strips—is no longer used, since materials now arrive pre-prepared and they no longer produce their own raw material. The materials somewhat determine the types of objects that can be made. Basketry with chestnut strips is more limited; wicker rods allow for more creative pieces; and rattan enables much more complex and delicate shapes, as the fiber has a uniform thickness and is more flexible (which is why it is widely used in workshops). Nevertheless, wicker remains the material used for the majority of their production. As for varnishes, they are no longer used today. In the past, all pieces were varnished with glossy varnish, and chestnut items were waxed. material2 Traditionally, his grandfather and father would gather wicker from the riverbanks —from trees of the Salix genus— where they went to cut it. In the Asturian language spoken in the area, willows are called mimbres or salgueiros, and the thin, elongated branches used in basketry are known as blimas or bilmas. In addition to wicker basketry, they also made baskets using chestnut or hazel wood, cutting the straight trunks into thin strips called baniellas. His father and grandfather would spend a week collecting materials along the riverbanks, using a bicycle with a small trailer. They usually went to the banks of the Nalón River, near the area of Forcinas (municipality of Pravia). They stored the materials in the homes of local neighbors and slept in barns; as a token of appreciation, they would gift a basket to the homeowners. Nowadays, cutting chestnut or hazel trunks, boiling them, slicing them, etc., is a labor-intensive and unprofitable task. Nevertheless, some people still do it, such as retired artisans of a certain age — like Tito from Paredes (municipality of Valdés), another from Navelgas (also in Valdés), and another from the municipality of Cangas del Narcea. Currently, both wicker and chestnut strips are sourced from suppliers in Salamanca —such as Artesanías Laz-mar (https://www.laz-mar.es/) or Mimbrecor— or from Valladolid (e.g., Juan García). Rattan is obtained from suppliers in Valencia and Barcelona, such as the company MasValls (https://masvalls.com/), or from others who import it from Asian countries. They also use a rope made from algae, which is supplied by Arte Vértice (https://www.artevertice.com/). Over time, they have worked with various suppliers from Salamanca, Cuenca, and Valladolid. Occasionally, friends provide them with local materials. The most commonly used materials are wicker and, to a lesser extent, chestnut. Rattan pith is frequently used in workshops and for fine or artistic pieces. There are generally no issues obtaining these materials, although they may be scarce at times due to exports. In recent years, the price of wicker has increased. In terms of cost, rattan is the most expensive material. There is no material that is particularly difficult to obtain, although chestnut —which comes from Baños de Montemayor, in the province of Cáceres— can sometimes be hard to source. Wicker is cultivated in large industrial production areas, especially in Salamanca and other parts of Spain, using specialized machinery. material3 In basketry, scraps can be reused in various ways. For example, if leftover rod cuttings of a certain length remain after making a piece, they can be repurposed for the base of a basket or for crafting smaller items. Although some waste is generated, almost everything is utilized. The remnants that can no longer be used in production are used as firewood or fuel for fireplaces and wood-burning stoves. production1 In the past, the process was much longer, as it was necessary to obtain raw materials from the natural surroundings. One had to go to the riverbanks, where the trees grew, to cut the necessary branches (blimas). The best time to harvest the fibers was during the waning phases of the moon, and two harvests were carried out each year. Afterward, the material had to be peeled, boiled, and cut to the appropriate size. Nowadays, peeling is done with machines, but in the past, it was done while the material was still green, using two sticks like tongs to remove the bark from the fiber. Currently, the material is sold in bundles, sorted by size and in various qualities: more or less flexible, with greater or lesser resistance, hardness, number of knots, etc. Upon receiving it, it is stored and then soaked in water until it reaches the optimal point for working. It must be moist, as it breaks when bent if it is dry, and can also break if it is too wet. Peeled wicker requires between 1 and 2 hours of soaking, while unpeeled wicker may need up to 8 days. White wicker needs less time; boiled and black wicker require more. The artisan knows it is ready simply by touch. Depending on the piece to be made, the material is selected based on thickness and length. The essential part of the process is hydration, which is done in vats—often the same ones that were traditionally used to boil the wicker, helping to achieve a brighter color and making peeling easier. Once hydrated, the blimas are selected. For the basket bases, the thickest ones are chosen to form the stambres: the pieces that make up the base on which the weaving is done. The base can have various shapes and be assembled manually or with the help of guides such as the taruco, a wooden slat with holes where the pieces are fixed in parallel before weaving. With the base ready, the next step is estambrar, which involves placing the vertical estambres (blimas or rods) that shape the body of the basket and on which the walls are woven. To fix them to the base, cordones are used: four thin blimas that are interwoven with the estambres and the base to secure them. The next stage is weaving the basket. If it is a basket with a handle, two long estambres are left to form the handle. Then, weaving begins by passing the blimas between the estambres, shaping the body of the basket. Depending on the desired shape of the basket, it can be woven by hand without any support. However, in the case of truchera baskets (for fishing), molds or forms are needed—shaped like the basket and available in various sizes—to give it its final shape. Once the body is woven, the upper part of the basket is finished with an additional weave that provides the necessary firmness. This finishing is called the arbín, and it consists of three or four wicker rods woven simultaneously, known as cordones. Sometimes, to speed up the process, the work is divided between the two siblings. For example, she makes the basket bases, and he handles the finishing. In fishing baskets, Mari makes the base, José weaves the body, and Mari finishes the lids. The work alternates depending on the piece. Mari usually handles the bases, lids, handles, coloring, and varnishing. production2 The tools used in basketry are simple. In wicker basketry, the main tools are a knife, an awl, and scissors. The knife is used to cut the blimas to the required length or to split them. The awl is used to make holes in the weave to insert rods, and the scissors are used to trim excess material once the basket is woven. Additional tools are also needed. Molds are chestnut wood pieces that serve as forms for making certain types of baskets. For example, river fishing baskets are made using solid chestnut wood molds. Once the basket is woven around them, the molds can be disassembled and removed through the opening of the finished basket. There are also molds for railway baskets, sea fishing baskets, and Dutch-style baskets. These are very old pieces (some over 80 years old), inherited from his father and grandfather. José has also made his own molds for custom orders and specific designs. The cepo is another type of mold—a solid chestnut piece shaped like the rim of a basket lid. The rims are fixed to it using heat to increase flexibility and allow them to be shaped. They are then left for several days until they retain the desired form. José also makes his own molds when needed. In basketry using chestnut or hazelnut strips, specific tools are used: •The cuchilla, to split logs and obtain strips. •The rasera, a double-handled blade used to clean and smooth the wooden strips. •The cuña, a small iron tool with a handle used to adjust the strips (baniellas) in the weave. As the basket dries, the strips separate, and the wedge is used—struck with a hammer—to bring them together and eliminate gaps. More specialized tools include: •The grifa, used to bend or straighten thicker wooden pieces, such as chair legs. •The banco de forma, a vertical board with holes where sticks are inserted to shape them. The number of tools has decreased over time, as raw materials now arrive pre-processed and cut to size. They own a machine inherited from their grandfather, now unused, which was used to remove the core of wicker blimas and turn them into very fine strips. These strips were used to cover basket handles or make delicate lids. However, the machine is no longer used because the material now comes already shaped. Tools that are no longer in use include the wedge, the scraper, and the peeling machine. Most of the tools were inherited from the family, although José has also acquired modern electric tools over time. production3 These are simple tools used in a creative process that is fundamentally manual. Most of them were inherited from his father and grandfather, which gives them a strong sentimental value. Additionally, some tools—such as the wedge or the scissors—are specific to his craft and not easy to find, so they have had to be repaired on occasion to keep them functional despite their age. production4 His work relies primarily on manual energy. However, for certain processes, he requires electrical energy, which he obtains from the conventional power grid. His workshop has no windows, so artificial lighting is needed at all times. Still, having access to natural light would greatly improve the working conditions. He does not use renewable energy sources for lighting or heating. Since the workshop is located on the ground floor of a building in an urban center, implementing such systems is difficult. Nevertheless, the space is well insulated and warm, so in winter he rarely needs to turn on an electric radiator for heating. In summer, the workshop also remains cool. production5 The waste produced mainly consists of leftover pieces of wicker and other fibers used in crafting. These scraps are reused as fuel for wood-burning stoves or for heating homes. If not reused, they are disposed of as organic waste. No hazardous waste is generated, as all the materials discarded are biodegradable. workshop His first workshop was located in Cuero, in the family home. Later, they moved to Grau/Grado and worked in various locations until settling in the current one, which they opened in 2012. The workshop is located at the back of their store and is a small space, barely 30 square meters, where they store raw materials, tools, and carry out their work. A large workspace is not necessary, as the artisan usually works seated on a stool, shaping the pieces with the help of hand tools and molds. The workshop is connected to the store, allowing them to pause their work at any moment to attend to visiting customers. products1 They create all kinds of basketry items, especially in wicker. Their production is highly varied: from round baskets with a handle—a basic and simple piece—to chairs and armchairs, lamps, boxes, trunks, trays, Christmas baskets, cradles, vases, sports trophies, umbrella stands, and covered bottles, among others. In other parts of Spain, it is common for workshops to specialize in a single type of product (such as baskets, chairs, or armchairs), but José and Mari make all kinds of items. In addition to crafting new pieces, they also restore old ones. They repair the vegetable weaves of rush or esparto chairs and create new upholstery using natural fibers, either on antique furniture or on pieces that are being given a new aesthetic. They work with a wide variety of fibers used in basketry: wicker, chestnut wood strips, rattan, esparto rope, paper rope, and more. Currently, most of their production is focused on decorative items or custom orders made by individuals, florists, bakeries, greengrocers, and other clients. Traditional types of pieces—such as the cesto rey (used to carry soil, fertilizer, or grass) or the goxos (large baskets for storing grain)—have now become decorative objects, ethnographic pieces, or are used to store firewood or blankets. However, some of these items are still used in the countryside. A few years ago, they also produced many fishing baskets and Christmas baskets, although that production has declined. Many of their creations are based on traditional designs, but they also develop new models and original pieces, inspired by examples found online and on social media, or based on custom requests. For instance, they have introduced new lamp designs inspired by models seen on the internet. They have received a wide range of commissions: gazebos, cradles, pet accessories, bed headboards, sewing boxes... On one occasion, they even crafted the basket for a hot air balloon. products2 The main purpose of their entire production is for sale. Most of it is sold directly to the public, another portion is through custom orders, and a third goes to long-time clients who resell the items in shops located in different parts of the country. products3 The artisan has a physical store where he sells all his items directly to the public and also receives ongoing custom orders from clients looking for specific pieces. He also maintains relationships with several shops that were already clients of his father, supplying them with fishing baskets and other products. These stores, located in Asturias and the Galicia region, purchase part of his production. He no longer attends craft fairs or markets, as sales were limited and did not justify the effort involved in traveling, setting up the stand, etc. He only participates in local fairs. Occasionally, it was worthwhile if a craft workshop was included, but in recent times he prefers to continue working in the workshop and attend only specific commitments. He receives a wide variety of orders from individuals, bakeries, florists, and others, for whom he makes baskets, displays, trays, vases, and more. For florists, for example, he creates many vases for flowers and events. He also fulfills requests for furniture pieces. products4 Restoration of furniture and objects made entirely or partially using basketry techniques and vegetable fiber weaving. Renovation of woven furniture (chairs, armchairs, etc.). Custom orders for all types of basketry items. Consulting services on topics related to basketry. One of the most requested services in recent times is the repair of chair seats made with vegetable fibers such as rush or esparto grass. Chair and seat restoration is a very common task. Basketry workshops have been offered occasionally, but it is not a service provided regularly. products5 He receives orders to restore and repair all kinds of items related to basketry and vegetable fibers. For example, it is common to repair bakery baskets, which tend to wear out with use. Whatever the issue, he is open to finding solutions and maintains direct, personalized communication with the client. products6 Customers are very diverse, both local and foreign. There are different profiles: from local clients who seek specific products, to international tourists who appreciate handcrafted work and are willing to pay a high price for it. In their experience, there is a clear distinction between the local customer—regular, who sometimes finds the product expensive and tends to haggle—and the foreign audience, for whom the prices are very affordable. This reflects differences in purchasing power and, at times, cultural factors. Differences are also observed between age groups, both young and old. During the summer, the store receives a large influx of foreign visitors, especially tourists and pilgrims, as the Camino de Santiago passes right by its door. They receive all kinds of custom orders: made-to-measure furniture and drawers, Christmas baskets, among others. They also receive orders from outside Spain. For example, they have a client in Switzerland who imports Christmas baskets, since this type of product is hardly marketed in Spain nowadays. Bakeries are another regular customer, for whom they make baskets to store and sell bread, as well as flat trays for empanadas (an empanada is a filled dough preparation, usually baked, typical in many regions of Spain). Social media serves as a showcase for their handcrafted production. It allows them to reach a wider audience and facilitates the sale of their products. Years ago, the peak work season began at Christmas. From August or September, mass production of Christmas baskets would begin. Once that campaign ended, production shifted to fishing baskets. At one point, they supplied many stores throughout Galicia. However, in recent years, production of both items has declined, and now the focus is more on the summer season and tourism. Customers especially value that the product is locally made, and many are specifically interested in the quality and regional origin of the pieces. products7 Their production does not carry any certification or label. They are only listed in the Asturias Artisan Registry, which is maintained by the regional government. However, this registration does not offer any advantage for their business. They do not apply for public aid and do not consider it to add any value to their products. tourism1 They do not participate in activities directly related to tourism, beyond selling their products to tourists. On one occasion, the local council proposed organizing a workshop, but the initiative did not materialize. They have conducted a few very small workshops for visitors. They do not plan to get involved in such activities, especially since retirement is approaching. tourism2 “Los extranjeros no miran el precio, cogen lo que les gusta, lo traen, y lo pagan sin quejarse. Los de aquí siempre tratan de regatear” partnership They do not belong to any artisan group or association. They maintain relationships with other artisans in their area, but not through any formal platform or organizational structure. They collaborate with Natalia Suárez (Woodic, https://woodic.es), for example in exhibitions such as the one held at the Oviedo Conference Center (https://www.instagram.com/p/C72HniXs7Rd/) or at the Grand Palais in Paris during the Fine Craft & Creation Biennial (May 21–25, 2025, Grand Palais, Paris) (https://www.instagram.com/woodic.es/p/DJ_Tt8ONncw/). In this case, they combined traditional basketry with ceramic pieces to create artistic works. Regarding public institutions, they have collaborated with the Muséu del Pueblu d’Asturies and the Muséu Etnográfico de Grau/Grado. They have also worked with the Grau/Grado City Council (the municipality where they live), participating in craft fairs such as the La Flor festival, and organizing basketry exhibitions at the local cultural center. In 2022, the Muséu del Pueblu d’Asturies —the most important ethnographic research center in the region— produced a documentary about their work, documenting the entire process of making a railway trunk/basket. They also collaborate with the museum in restoring old basketry pieces. challenges1 One of the main challenges that both José and Mari emphasize is the amount of bureaucracy that small artisans like them must face. In their case, for example, they mention taxes, such as those paid for the workshop space or the 21% VAT applied to each item sold. They do not own a computer and find the amount of paperwork excessive. Like many self-employed workers, in order to carry out their basketry work, they must issue invoices —now electronically— and deal with a significant bureaucratic burden, including tax declarations, social security contributions, workshop insurance, civil liability coverage, and many other requirements. Moreover, the legislation applied to small artisans is the same as that for small and medium-sized enterprises, which means that some maintenance costs, such as water bills, are high despite low consumption. One example is when they export pieces to Switzerland: they’ve encountered issues at customs because their invoices are still handwritten, which increasingly causes problems as paper invoices become less common. They believe a possible solution would be the creation of a special legal status for artisans, with a classification within economic activities that would allow them to work with fewer bureaucratic obstacles. Their production volume and income are not high. For instance, during the COVID-19 pandemic, the government proposed a series of aid packages for businesses affected by declining sales. In their case, they were not eligible because they were classified as a workshop rather than a retail business —even though they sell their products directly in the workshop’s store, alongside other items. Another major issue is the number of hours the craft demands. José arrives at the workshop every day at 8 a.m. and spends nearly the entire day there. He continues in the trade because he enjoys it, but the number of hours required is disproportionate to the income he earns. In another job, he would have a salary and a fixed schedule, but here he also has to cover numerous expenses, such as rent, taxes, and basic services. What keeps him going is the freedom of working in his own space. While working, he feels immersed in his own world, doing what he loves. Despite creating local, sustainable artisan products, he must compete with foreign goods, such as those produced in Southeast Asia at much lower costs. He says it’s a shame that this craft is disappearing. He receives orders from all over Asturias and insists that there is no one else in the region making custom pieces. He repeats that there are no basketry shops or artisans left in Asturias. He receives no support of any kind —neither financial nor social. In fact, he has even had problems with the local police in Grau. They don’t allow customers to stop for even a few minutes in front of the shop to pick up their orders. People pull up with their cars, lights on, wearing safety vests —and they’ve been told to leave. He doesn’t ask for help, just to be allowed to work. He admits this wears him down, and little by little, he’s burning out. If he were working for a company, he wouldn’t have this problem. He says it’s a shame to give it up, but he’s tired. He’s decided to focus only on the most basic tasks. He feels exhausted —he’s been working for over 50 years, since he was 12— and now he just wants to do simple things. challenges2 “Cuando lo dejen esos, que tan jubilaos, no encuentras a nadie que te haga un sillón de mimbre. Y aquí en Asturias, no sé si encontraras a dos que te hagan un sillón de mimbre”. “Casi nadie recoge encargos ni hay quien te haga ya estas cosas”. “la pena es que cuando esos cuatro que quedan no hagan nada, no queda nadie […]. Un cesto lo hace cualquiera […] pero cosas más complicadas, ya no hay nadie que las haga. Las cestas de pesca van pa Galicia […] allí ya no hay nadie que los haga. “Muchas horas… y luego tampoco cobras lo que tienes que cobrar…” “Y sacas un sueldín, porque aquí, claro, la renta, la luz, el agua, impuestos… references Anon. (2021). «El arte de tejer con mimbre». El Correo de Central Lechera Asturiana, n.° 428, pp. 48. Anon. ([s. f.]). «El arte de tejer con mimbre». El campo y la mar. La revista del sector primario en Asturias., n.° 18, pp. 26-27. Cultura Gijón Xixón. 2021. Cestería de mimbre. Fabricación de una maleta de ferroviario. https://www.youtube.com/watch?v=nRu5k63MvJQ Fanjul Mosteirín, José Antonio; Rodríguez del Cueto, Fernando; Expósito Mangas, David (2024). La cestería en Asturias: Una técnica milenaria. Gijón / Xixón: Red de Museos Etnográficos de Asturias. Social Media The social media links. facebook,https://www.facebook.com/p/Cester%C3%ADa-Grao-100057049677134/;instagram,https://www.instagram.com/cesteriagrao/; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/José_Ángel_González_del_Río Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource José Ángel González del Río Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1962 Language A language of the resource Asturian,Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 671 Source A related resource from which the described resource is derived artisans,asturiasmap Spatial Coverage Spatial characteristics of the resource. current,43.39279877223144,-6.067385808018965; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. José Ángel González del Río Artisan An artisan Author iain Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/González,_José Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource José González Type The nature or genre of the resource Artisan Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 425 Description An account of the resource One of the artisan who create a lamp in El Valle, Candamo, Asturias, Spain and in the VERA Platform. Source A related resource from which the described resource is derived artisans Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. González, José Artisan An artisan Contact alonsojoseluis14@gmail.com Author iain Email The email address of the museum. alonsojoseluis14@gmail.com Phone The phone number 608093170 Biographical Text He inherited his grandfather’s trade — a historic shepherd in the area — along with his passion for the mountains, livestock herding and cheese-making. He currently owns 200 sheep, 70 goats and 25 cows, practises transhumance, and is responsible for the Uberdón cheese dairy, where Gamonéu de Puerto cheese is produced in the traditional way. He is currently one of the youngest shepherds in the area who still make cheese in the Picos de Europa. He produces his cheese, Gamonéu del Puertu, a product with its own Protected Designation of Origin, using milk from his own cows, sheep and goats. Through an artisanal process, the cheese is finished with maturation inside the mountain of Covadonga. Despite his youth and the short time he has been running the dairy, José Luis has received several awards for the quality of his cheeses, including the “National Gastronomy Award for Young Talent – Alimentos de España” and “Young Farmer 2023”. External ID LAPONTE_PR_05 Knowledge Acquisition He has been drawn to working with animals since childhood. He first learned from his grandfather, but he believes that most of his knowledge comes from daily practice and from learning through mistakes. Knowledge Transfer No, he does not currently teach these skills to others. Field Worker Maria Jose Tudela Castro Gender male Area Relation native Involvment full-time paid job knowledge1 It is essential to know how to care for the animals throughout the year, to have a strong vocation and passion for livestock, and to master milking techniques. material1 He uses cow’s milk and milk from his cattle and sheep, all of which are fed exclusively on natural pasture. He also uses renne material2 The milk comes entirely from his own production. The rennet is purchased, although traditionally it was prepared using the stomach of a young goat. material3 No waste is generated during the production process. production1 He milks the cows in the morning, adds the rennet, and after waiting several hours, cuts or grates the curd. He then places the mixture into the moulds, turns the cheese when required, and finally salts it. production2 He uses moulds that meet current sanitary regulations, which differ from traditional wooden moulds once used in the past. He also uses a jug, a container, the milk vat, a strainer, and other basic tools required for cheese production. production3 He stores in the cabin his grandfather’s descas, to which he has a strong emotional attachment, as well as the traditional curd-stirring stick. Current sanitary regulations prohibit their use in the dairy. production4 He has access to energy in both the cabin and the dairy through solar panels. Water must be carried up throughout the year, as there is no direct water supply at the site. production5 No waste is generated during the production process. The entire workflow is designed so that all materials are fully utilised. workshop He uses several separate spaces: the cabin, where he sleeps; the dairy, where the cheese is produced; the smoking room, located inside the dairy and used for the smoking process; and the cave, where the cheeses mature and ferment. The dairy belongs to the local council, while the other spaces are part of his seasonal activity in the mountain pastures. products1 He produces Gamonéu del Puerto cheese. products2 He produces it both for commercial sale and to keep the traditional craft alive. products3 He sells mainly to tourists and several local bars, including one that initially supported his product and remains his main buyer. He also has regular customers who purchase cheese throughout the year. His production is limited—approximately 1,400 kg annually—so he can hardly take on new clients and works with three fixed buyers. products4 He occasionally shows the cave and his working process to friends or acquaintances, but considers it something exceptional. Although he could receive visitors daily, he cannot interrupt his work to attend to the public on a regular basis. products5 No, he does not provide repair or reutilisation services. products6 His customers consist mainly of tourists and regular buyers who purchase his cheese each season. products7 Yes, his cheese is protected under the Gamonéu del Puerto Designation of Origin (PDO). tourism1 His involvement with tourism is limited to selling cheese to visitors in the area tourism2 "Si más animalista que yo no hay, el animalismo no está solo en el lobo." "Me voy a poner en el rebaño con una escopera, yo también me estoy defendiendo." "El lobo acabó con muchos quesos y con el modo de vida de mucha gente." partnership He collaborates with the Bearded Vulture Association, to which he sells his lambs. This organisation assists him in distributing the product to selected supermarkets and hospitality businesses, while also ensuring that he receives a fair price. To participate, the lambs must meet high quality standards. He does not engage in collaborations with academic institutions nor participate in co-creation projects with other practitioners or public organisations beyond this association. challenges1 His main challenges arise from the presence of wolves, which constitute his greatest concern. He also notes that the pastures are no longer what they once were, due to increasing land abandonment, which has led to dense scrub growth and a decline in the quality of grazing available for livestock challenges2 «Ser pastor y hacer queso, las dos cosas a la vez, como hago yo, es casi imposible» references https://efeagro.com/pastoreo-heroico-picos-europa-lobo/ https://www.youtube.com/watch?v=hYpUL8BXtas https://www.youtube.com/watch?v=sijWZcWw_BY Social Media The social media links. facebook,https://www.facebook.com/Queseriauberdon; Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Jose_Luis_Alonso_Zaragoza Prim Media 2056 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jose Luis Alonso Zaragoza Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1995 Language A language of the resource Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 792 Source A related resource from which the described resource is derived artisans Spatial Coverage Spatial characteristics of the resource. current,43.34833333,-5.1275; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Spain Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Jose Luis Alonso Zaragoza Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://www.dopgamoneu.com/comprar-queso-gamoneu/la-queseria-uberdon/ Artisan An artisan Contact info@kovastvo-krmelj.si Author iain Email The email address of the museum. info@kovastvo-krmelj.si Phone The phone number +386 (0)41 503 749 Prim Media 2117 Biographical Text Jože Krmelj (1963) spent his childhood in the village of Studeno in the Selška Valley and trained as a carpenter at the woodworking school in Škofja Loka. He then worked as a carpenter in the Alples furniture factory in Železniki. In 1983, he got a job at his ) wife's family's blacksmith shop.as an assistant blacksmith. The family has been involved in blacksmithing for seven generations since 1870, and since 1938 at their current location in Log pri Škofji Loki. Until 1990, his father-in-law managed the blacksmithing production of tools with a total of four employees. The most important blacksmithing product among cutting tools were axes. When his father-in-law was injured in 1990, he handed over the management of the blacksmith's workshop to Jože, who also took on the role of head blacksmith. He learned the blacksmith's trade by watching in the workshop as a self-taught apprentice. He added many new blacksmithing items to the production range and also set up a woodworking workshop for the production of tool handles. In 2010 he learned knife forging from two experienced master blacksmiths in Austria. Today, these knives are highly sought after for their uniqueness, quality and, last but not least, artistic appearance. All the blacksmith products from the workshop are hand-forged under an spring hammer and are unique, made from high-quality steel. The company now employs six people, including a young blacksmith whom Jože trained himself and an apprentice who is currently undergoing training. Kovaštvo Krmelj manufactures useful blacksmith products for partners in Slovenia, Germany and France. Jože Krmelj has grown to love the work of a blacksmith and finds it extremely enjoyable. On Saturdays, he runs blacksmithing workshops, which are attended by students from all over the world. In 2021, he was awarded the title of Craftsman of the Year. As one of the few blacksmiths in Slovenia, he received the Zlata vitica (Golden Vine) Award for special achievements in handicrafts in 2012. External ID ZRCSAZU_PR_04 Knowledge Acquisition Jože retrained from joinery to blacksmithing when he married into a family of blacksmiths in 1984 and found employment there as an assistant blacksmith. He taught himself blacksmithing by watching in the workshop, searching for information independently and experimentation an within a lot of practice. In 2010 he learned knife forging from two experienced master blacksmiths in Austria. Knowledge Transfer Jože trained a younger employee, who now works for them and also trains apprentices. Every Saturday, he runs one-day blacksmithing workshops, which are attended by participants from Slovenia and abroad. Workshops accept 5-7 participants, are very popular, and are fully booked several months in advance.This course is intended solely to introduce participants to the blacksmithing process and give them a chance to try it out. Field Worker Barbara Ivančič Kutin AI Tools Yes AI Content Deepl translator. Gender male Area Relation native Area Reason A local resident of the Škofja Loka area since birth. He moved to his wife's family home in the village of Log nad Škofjo Loko from the neighboring Selška Valley in 1984. Occupation woodwork,metalwork,artist Involvment full-time paid job knowledge1 The work of a blacksmith requires enjoyment of work, sufficient physical strength, agility, and endurance for working in hot conditions, as well as a sense of design and precision. Although the work is rough and requires physical strength, a forger must also have a soft side, because without softness and the right feeling, a beautiful product cannot be created. material1 In the workshop, they use only special so called steel for improvement, which is suitable for hardening. For Damascus knives, a special material with a specific chemical composition is used in plates of two different colors (darker and lighter). Wood is used to make the handles: elm, acacia, American oak. material2 The material known as steel for improvement is purchased from a Slovenian supplier. More than the origin (which is from various countries), they are interested in the highest quality of raw materials, which is determined by special markings. The wood for the handles is Slovenian, purchased at a sawmill in Metlika, where they also cut the boards to the appropriate thickness. material3 There is very little waste, just a few buckets per year. These are sold to a landfill as raw material. Everything else is recycled (reprocessed), i.e. reused. production1 First, the steel is cut into smaller pieces that will be processed. Then, using a forging process (heating the steel to a high temperature and hammering it with a sprin hammer machine (while turning the piece by hand), they first punch a hole for the handle, then forge it into its basic shape (axe, hammer, ice axe, etc.). This is followed by hand finishing to the final shape: hardening, grinding, polishing, and sharpening. The Damascus knife is handmade from 320 thin layers of steel. The technique is around 3,000 years old. To make Damascus steel, a special material with a specific chemical composition is used in plates of two different colors (darker and lighter). Ten plates are first stacked on top of each other, alternating between the lighter and darker colors. This "package" is forged to create a connected, homogeneous structure in which the colored layers are visible. This material must then be folded five times. After the first folding, 20 layers are obtained, followed by 40, then 80, 160, and finally 320. Once the material has been welded, it is shaped into a knife using a forging process, and finally a handle is added. Jože Krmelj makes the handles himself from various materials, including wood, horn, and bone. He also makes wooden sheaths for the knives, while the leather sheaths are sewn by another craftsman. production2 The most basic tools are a fireplace which is heated with charcoal and has a mechanism for supplying air (this regulates the temperature, which is ideal for forging at around 900 degrees Celsius); an spring hammer, a hand-held forging hammer, and tongs for gripping or turning hot pieces. A barrel of water or oil is needed for tempering steel. In addition, a grinding machine, welding equipment, and protective equipment such as gloves, goggles, and noice earphones are also used. production3 Good tools are extremely important to blacksmiths; tools for The most important tool is the machine spring hammer, which is over 100 years old at the Krmelj family's workshop and is maintained and repaired by them. This machine has greatly (physically) eased the blacksmiths' work. Since it works perfectly, there is no need to replace it. Most of the other tools are also made in the blacksmith's workshop and are regularly maintained and repaired at home. The tools are part of the family heritage. production4 The furnaces are coal-fired, the springhammer (machine), grinding and welding machines are electrically powered.The other tools are manual. production5 There is no waste, as all waste is recycled through re-forging. Only a few buckets per year are sold to landfill as raw material. workshop Krmelj's smithy is a separate building right next to the family home. There is also a separate building for a woodworking workshop next to the house. The office is located in the family house, which also has internal access to the smithy. products1 They have a wide range of products, more than 500 items. They mainly manufacture cutting tools: garden, forestry, carpentry tools,firefighting,bbutcher's tools ... such as various types of axes, sickles, as well as claws and hammers. Their their latest products are some rustical items such is a frying pan. Since 2010, when he is alone in the workshop, he have also been manufacturing Damascus knives. All their products are useful. products2 The products are forged for sale for Slovenian and foreign customers or distributors, mostly in large quantities. products3 The tools can be purchased in various shops supplied by wholesalers who order the products from the smithy; Jože Krmelj also collaborates with German and French companies who order products from them and sell them in their shops, including through a web catalog. The products can also be purchased in person at the blacksmith's shop or via the online store. Damascus knives are avaliable in his workshop only. products4 They manufacture custom-made products and also repair their products as well as all other steel tools. products5 Yes, both for our own products and for steel products from other manufacturers. products6 All these individual or grosist customers from Slovenia and abroad who want high-quality, durable, handcrafted, and useful products that suit their needs. Repair services are most often used by individuals. products7 His products has the Art & Craft Slovenia certificate, issued by the Chamber of Craft and Small Business of Slovenia. tourism1 Is the operator involved in tourism-related activities? What kind of activities? When do they take place? Who are the tourists (e.g., domestic, foreign)? tourism2 "Mi ne rabimo nobene reklame. Mi sami sebi ne oglašujemo. To opravijo zadovoljne stranke." Translation: "We don't need any advertisment. We don't advertise ourselves. Satisfied customers do that for us." partnership Jože is a member of the DUO Škofja loka Handicraft Centre DUO. He occasionally collaborates with the municipality and other institutions when they order protocol gifts – they come to him directly; he does not offer his products around. Cooperation with kindergartens, schools, and the DUO center also takes place in such a way that interested parties ask in advance to observe the process, participate in a workshop, or learn (apprenticeship). challenges1 He is very satisfied with his work and life and has no complaints. He enjoys facing creative challenges in developing new products; there are many problems to solve to ensure that a new product is of the highest quality. He is saddened by the decline of the blacksmithing trade, which no longer interests young people. Jože Krmelj puts product quality first and has no desire to expand. Efforts to preserve the craft and tradition of blacksmithing have always been a priority and still confirm the wisdom of their business decisions today. challenges2 "Spoznali smo namreč, da se je industrija modernizira in lahko naredi velike serije izdelkov, pa jih težko prodajo, ker so to izdelki brez duše. Mi pa malo naredimo in lahko prodamo, ker smo videli, da trg išče kvalitetne, unikatne, ročne kose, v tem je naša prednost. Izdelki z dušo. Vsak kos je unikaten." Translation: "We realized that the industry is modernizing and can produce large series of products, but they are difficult to sell because they are soulless products. We produce small quantities and can sell them because we have seen that the market is looking for high-quality, unique, handmade pieces, and this is our advantage. Products with soul. Each piece is unique." references https://www.centerduo.eu/mojstri-rokodelci/kovastvo-krmelj/ https://prvi.rtvslo.si/podkast/intervju-radio/3633109/174860660 https://365.rtvslo.si/arhiv/vizionar-obrtnik-in-podjetnik/174940812 Wiki A link to a wiki entry about this item. https://culturality.museum/wiki/index.php/Jože_Krmelj Shop https://www.kovastvo-krmelj.si Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jože Krmelj Type The nature or genre of the resource Artisan Date A point or period of time associated with an event in the lifecycle of the resource 1963 Language A language of the resource German,Slovene Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 819 Source A related resource from which the described resource is derived artisans,uppercarniola Spatial Coverage Spatial characteristics of the resource. current,46.1276625914593,14.229099836053459; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Slovenia Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Jože Krmelj Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://www.kovastvo-krmelj.si https://culturality.museum/omeka/files/original/6bf82cc54969724b0161eee5a67df22e.jpg 85c8eba315928b219780a06cf99b3899 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jože Krmelj in his blacksmith's workshop. Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg License A legal document giving official permission to do something with the resource. In Copyright (InC) Date A point or period of time associated with an event in the lifecycle of the resource 13. 2. 2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Barbara Ivančič Kutin https://culturality.museum/omeka/files/original/80d0ad27a8cc853b4efcca688309c20d.glb 582fb79f64e5f8a6f94bd9ad75f3bf0b 3D Object DescriptionEN English Description A clay jug used to transport water, with two handles and vertical decorative motifs on the body of the piece. These lines are carved, and this is the only part of the object that preserves the original burnishing. This type of pottery, produced in this workshop, had a strong influence in northern Spain. Vertices 48543 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jug Type The nature or genre of the resource 3D Object Description An account of the resource A clay jug used to transport water, with two handles and vertical decorative motifs on the body of the piece. These lines are carved, and this is the only part of the object that preserves the original burnishing. This type of pottery, produced in this workshop, had a strong influence in northern Spain. Date A point or period of time associated with an event in the lifecycle of the resource 2025 Contributor An entity responsible for making contributions to the resource melendezenrique@uniovi.es Format The file format, physical medium, or dimensions of the resource model/gltf-binary License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Identifier An unambiguous reference to the resource within a given context 1fc7faf8b0164a2eaa39db37d14ae2e9 Spatial Coverage Spatial characteristics of the resource. current,43.53689604607413,-5.634997934103013;origin,43.539892620989555,-5.946494936943055; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. 3D Europeana Data Provider The name or identifier of the organisation that contributes data to Europeana. Universidad de Oviedo Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://sketchfab.com/models/1fc7faf8b0164a2eaa39db37d14ae2e9/embed Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Paula Labrador, Enrique Meléndez y Santiago Rodríguez Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Site: Barn Identifier An unambiguous reference to the resource within a given context 929 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 535 Material Clay Natural Cultural Cultural Function Carrying Water Creation Purpose Household ware Technique Reduction firing Field Worker Enrique Meléndez Galán Craft ceramics Place The town or city Miranda, Avilés Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jug Type The nature or genre of the resource Physical Object Description An account of the resource A clay jug used to transport water, with two handles and vertical decorative motifs on the body of the piece. These lines are carved, and this is the only part of the object that preserves the original burnishing. This type of pottery, produced in this workshop, had a strong influence in northern Spain. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1880/1900 Creator An entity primarily responsible for making the resource Pottery Workshop from Miranda Subject The topic of the resource Art,PEOPLE,SOCIAL HISTORY Extent The size or duration of the resource. 34cm x 36cm x 29cm Contributor An entity responsible for making contributions to the resource melendezenrique@uniovi.es Identifier An unambiguous reference to the resource within a given context 338 Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 21/04/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Cántara Spatial Coverage Spatial characteristics of the resource. current,43.53689604607413,-5.634997934103013;origin,43.53968020368842,-5.946725606918336; Date Modified Date on which the resource was changed. 21/04/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. 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Title A name given to the resource Jug Type The nature or genre of the resource 3D Object Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource text/plain Alias/WaveFront Object License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Identifier An unambiguous reference to the resource within a given context 68b3b0adb8fc461daa62de5656e9869a Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. 3D Object The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy. https://sketchfab.com/models/68b3b0adb8fc461daa62de5656e9869a/embed Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Prim Media 1927 Natural Cultural Cultural Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jug Type The nature or genre of the resource Physical Object Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 762 Source A related resource from which the described resource is derived craftedobjects,scotlandobjects,highlandandislands,timespanrural Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 10/11/2025 Date Modified Date on which the resource was changed. 10/11/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Organisation A person. Contact community@westhighlandmuseum.org.uk Contacted true Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Karen Dean Type The nature or genre of the resource Organisation Description An account of the resource I am the Community Outreach Officer for the West Highland Museum Identifier An unambiguous reference to the resource within a given context 80 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Material Wood, birch Natural Cultural Cultural Function The main function of a keychain is to serve as an accessory to organize and keep keys together, making them easier to carry and preventing them from getting lost. In this case, it is a small and inexpensive version of the cunqueira craft that allows visitors to take home a sample without spending too much. The keychain is a miniature cimbreira, made in a single piece, so that the lid and the bowl do not separate. Creation Purpose To keep at home or for sale Technique Pedal lathe and Hand-carved with gouges. It takes about 1 hours to make the piece, in addition to the time required for felling and drying. Material Source Local wood: Parque Natural de Cangas del Narcea, Ibias y Degaña Conecept Artistic exploration of other uses and variations of the tixela within the logic of the traditional craft itself. External ID ESPTOR_AR_04 Field Worker Olaya Alonso López Craft woodwork Tool Chainsaw, axe, pedal lathe, gouges, and sandpaper Place The town or city El Bao (Il Bau) and Sisterna (Astierna) in Ibias; El Corralín (El Curralín) and Tablado (Trabáu) in Degaña (Asturias, Spain) Prim Media 1312 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Keychain Type The nature or genre of the resource Physical Object Description An account of the resource A small decorative wooden piece, spherical in shape, adapted to be a keychain, as a souvenir. Date A point or period of time associated with an event in the lifecycle of the resource 2024 Creator An entity primarily responsible for making the resource 1195 Language A language of the resource Asturian,Spanish Contributor An entity responsible for making contributions to the resource iain Identifier An unambiguous reference to the resource within a given context 596 Source A related resource from which the described resource is derived asturiasmap Date Submitted Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal). 02/09/2025 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Llavero Spatial Coverage Spatial characteristics of the resource. current,42.959326,-6.644387; Date Modified Date on which the resource was changed. 08/09/2025 Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. TEXT Site Institutional nature Museum, Ecomuseum, Extended Museum, Territorial Museum, Cultural Center, Memory House, e-Museum, etc Cultural Heritage Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kildonan Museum & Craft Shop Type The nature or genre of the resource Site Description An account of the resource The museum has a ‘Feis Room’ as a learning and performing art space for Gaelic culture including music, drama, art and storytelling. There’s also an open-access archive containing maps, documents and photographs telling South Uist’s story. This archive contains material provenanced to Margaret Fay Shaw, a prolific collector of Gaelic culture. Kildonan Museum is run by a partnership between Comann Eachdraidh Uibhist a Deas (South Uist Historical Society) and Urras Eachdraidh Uibhist a Deas (South Uist Historical Trust) (SC016426). Date A point or period of time associated with an event in the lifecycle of the resource 1997 Language A language of the resource English Identifier An unambiguous reference to the resource within a given context 16 Date Submitted Date of submission of the resource. 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Title A name given to the resource King Cormorant in front of a white background, top view Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-12 Spatial Coverage Spatial characteristics of the resource. current,68.0049977533612,13.2073237978534; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Agnes Csenki Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Norway https://culturality.museum/omeka/files/original/fd4ec9acbc1ccccc9285daf1e1a85e44.jpg af8bb63c6fbc7cb05aa48ad95ff928cf Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID MN_AR_09(03) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource King Cormorant" in front of a white background, back view Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-12 Spatial Coverage Spatial characteristics of the resource. current,68.0049977533612,13.2073237978534; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Kaja H. Larsen Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Norway https://culturality.museum/omeka/files/original/b0ba2d4ab2fcdf7f866af67a83a9af0f.jpg f410a00c3d13d76aff661a6ee797eb73 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID MN_AR_09(05) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource King Cormorant" in front of a white background, buttom view Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-12 Spatial Coverage Spatial characteristics of the resource. current,68.0049977533612,13.2073237978534; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Agnes Csenki Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Norway https://culturality.museum/omeka/files/original/a5bb829159b9d1e832a93f1c51026154.jpg 3feb491e9be09b15d4e0290199e60dc5 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. External ID MN_AR_09(04) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource King Cormorant" in front of a white background, side view 2 Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 2025-02-12 Spatial Coverage Spatial characteristics of the resource. current,68.0049977533612,13.2073237978534; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE Europeana Rights Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal. Agnes Csenki Country The name of the country of the data provider or “Europe” in the case of Europe-wide projects. Norway https://culturality.museum/omeka/files/original/83dac33eb176cc9e9a1f7040d5d62fc2.JPG 0fa89c90ce541980644c2c1f1f7dff28 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum: Finnskogen Identifier An unambiguous reference to the resource within a given context 936 Panorama Zoom Min 18 ry Rotation Y 90 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kissalamp Type The nature or genre of the resource Panorama Contributor An entity responsible for making contributions to the resource iain Format The file format, physical medium, or dimensions of the resource image/jpeg Source A related resource from which the described resource is derived finnskogen License A legal document giving official permission to do something with the resource. Creative Commons Attribution-ShareAlike License Spatial Coverage Spatial characteristics of the resource. current,60.158069,12.532783; Europeana Specific elements of the Europeana Semantic Elements. Europeana Type The Europeana material type of the resource. IMAGE