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<rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1908">
    <dcterms:title><![CDATA[Morin Khuur]]></dcterms:title>
    <dcterms:subject><![CDATA[Culture]]></dcterms:subject>
    <dcterms:description><![CDATA[The Morin Khuur, Mongolia's traditional bowstring instrument, holds deep cultural significance,symbolizing the nation and recognized as vital intangible heritage by UNESCO. Its name originates from the horse's head shaped engraving at the head of the instrument. Crafted from wood and strung with horsetail or ox tendon, the Morin Khuur's tones are produced by the artist's skillful manipulation of tension and vibration patterns while playing with a bow.This unique instrument plays a pivotal role in Mongolian and Tuvan cult ures, frequently featured in folk performances and rituals.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102024]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[03/21/2024 12:39:30 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[Xiaotong]]></dcterms:contributor>
    <dcterms:type><![CDATA[Moving Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,41.284410682371984,110.13574138283731;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1915">
    <dcterms:title><![CDATA[Morin Khuur]]></dcterms:title>
    <dcterms:subject><![CDATA[Culture]]></dcterms:subject>
    <dcterms:description><![CDATA[The Morin Khuur, Mongolia's traditional bowstring instrument, holds deep cultural significance, symbolizing the nation and recognized as vital intangible heritage by UNESCO. Its name originates from the horse's head shaped engraving at the head of the instrument. Crafted from wood and strung with horsetail or ox tendon, the Morin Khuur's tones are produced by the artist's skillful manipulation of tension and vibration patterns while playing with a bow.This unique instrument plays a pivotal role in Mongolian and Tuvan cult ures, frequently featured in folk performances and rituals.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102024]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[03/21/2024 01:01:29 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[Xiaotong]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[video/mp4]]></dcterms:format>
    <dcterms:type><![CDATA[Moving Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,41.74508660110019,110.76855428516868;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1916">
    <dcterms:title><![CDATA[Morin Khuur]]></dcterms:title>
    <dcterms:subject><![CDATA[Culture]]></dcterms:subject>
    <dcterms:description><![CDATA[The Morin Khuur, Mongolia's traditional bowstring instrument, holds deep cultural significance, symbolizing the nation and recognized as vital intangible heritage by UNESCO. Its name originates from the horse's head shaped engraving at the head of the instrument. Crafted from wood and strung with horsetail or ox tendon, the Morin Khuur's tones are produced by the artist's skillful manipulation of tension and vibration patterns while playing with a bow.This unique instrument plays a pivotal role in Mongolian and Tuvan cult ures, frequently featured in folk performances and rituals.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102024]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[03/21/2024 01:01:32 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[Xiaotong]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[video/mp4]]></dcterms:format>
    <dcterms:type><![CDATA[Moving Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,41.74508660110019,110.76855428516868;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1917">
    <dcterms:title><![CDATA[Morin Khuur]]></dcterms:title>
    <dcterms:subject><![CDATA[Culture]]></dcterms:subject>
    <dcterms:description><![CDATA[The Morin Khuur, Mongolia's traditional bowstring instrument, holds deep cultural significance, symbolizing the nation and recognized as vital intangible heritage by UNESCO. Its name originates from the horse's head shaped engraving at the head of the instrument. Crafted from wood and strung with horsetail or ox tendon, the Morin Khuur's tones are produced by the artist's skillful manipulation of tension and vibration patterns while playing with a bow.This unique instrument plays a pivotal role in Mongolian and Tuvan cult ures, frequently featured in folk performances and rituals.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102024]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[03/21/2024 01:01:35 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[Xiaotong]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[video/mp4]]></dcterms:format>
    <dcterms:type><![CDATA[Moving Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,41.74508660110019,110.76855428516868;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/2183">
    <dcterms:title><![CDATA[Morin khuur]]></dcterms:title>
    <dcterms:subject><![CDATA[Movable Cultural Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[The Morin Khuur, Mongolia's traditional bowstring instrument, holds deep cultural significance, symbolizing the nation and recognized as vital intangible heritage by UNESCO. Its name originates from the horse's head-shaped engraving at the head of the instrument. Craftedfrom wood and strung with horsetail or ox tendon, the Morin Khuur's tones are produced by the artist's skillful manipulation of tension and vibration patterns while playing with a bow.This unique instrument plays a pivotal role in Mongolian and Tuvan cultures, frequently featured in folk performances and rituals.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102024]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[02/05/2024]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[Xiaotong]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:medium><![CDATA[https://en.wikipedia.org/wiki/Morin_khuur]]></dcterms:medium>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Physical Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[1048]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,40.71395684281038,111.5156239271164;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/63">
    <dcterms:title><![CDATA[Morse Municipality]]></dcterms:title>
    <dcterms:description><![CDATA[Morsø municipality builds further on the cultural heritage as a fishing community, in particular the (native European flat) oyster and mussel fishery. The Danish Shellfish Center resides here with researchers from DLU. The shellfish industry has been a key driver in the local economy; the municipality and others worked hard to reignite the pride &amp; excitement around fishery, through an Oyster Premiere in October, a Shellfish festival in June as culture is promoted in the Kulturmøde each August.]]></dcterms:description>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[63]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,56.793255,8.8607752;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/37">
    <dcterms:title><![CDATA[Moruga Museum]]></dcterms:title>
    <dcterms:description><![CDATA[The Moruga Museum is dedicated to the prservation of the Sociohistoric culture of the People of Moruga, Trinidad and Tobago by extension the World. The collection is diverse and is not limited to items or from a region only, however, is open to collections from all cultures and eras.]]></dcterms:description>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[37]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,10.0886851,-61.2804674;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/187">
    <dcterms:title><![CDATA[Mosfell]]></dcterms:title>
    <dcterms:description><![CDATA[Mosfell is in the region East of Reykjavik, Iceland.  In 2007,  (Scandinavian Section, and the Cotsen Institute of Archaeology, UCLA) was awarded a five-year grant from Arcadia, administered by CMRS, to complete and document the research of the first eleven years of the Mosfell Archaeological Project (MAP), an interdisciplinary research project employing the tools of archaeology, history, anthropology, forensics, environmental sciences, and saga studies. MAP is constructing a comprehensive picture of human habitation and environmental change in the Mosfell region of western Iceland during the Middle Ages.]]></dcterms:description>
    <dcterms:source><![CDATA[reconstructions]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[29/12/2020]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[eulac3d]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[157]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,64.6420985,-19.4790523;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/4043">
    <dcterms:title><![CDATA[Mosfell Site Map 1]]></dcterms:title>
    <dcterms:subject><![CDATA[Intangible Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[Archaeological site map of Mosfell Longhouse.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:date><![CDATA[2012:10:02 14:59:39]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[07/24/2025 02:31:44 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[sarah]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[The Mosfell Archaeological Project (MAP)]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,64.18280088735156,-21.622381210327152;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1872">
    <dcterms:title><![CDATA[Moss Farm Road Stone Circle]]></dcterms:title>
    <dcterms:subject><![CDATA[Immovable Culture Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[A collection of 7 upright stones and 5 on their side. The stone circle has been disrupted by a road and fencing erected through it.

Climate Impacts: groundwater flooding, slope instability]]></dcterms:description>
    <dcterms:date><![CDATA[2012:10:13 16:25:55]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[14/03/2024]]></dcterms:dateSubmitted>
    <dcterms:><![CDATA[03/14/2024 04:38:09 pm]]></dcterms:>
    <dcterms:contributor><![CDATA[SharonPisani]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[914]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,55.54227392930117,-5.328990480192503;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1480">
    <dcterms:title><![CDATA[Mount Emei]]></dcterms:title>
    <dcterms:description><![CDATA[Mount Emei is located near 30° north latitude in the southwest of Sichuan Province. Its natural heritage is extremely rich, and it is known as the natural "Plant Kingdom", "Animal Paradise" and "Geological Museum". Due to the height and geographical location of Mount Emei, the scenery from the foot of the mountain to the top of the mountain is variable and attractive, it is also appraised as "the sky is different in ten miles, and there are four seasons in one mountain". At the same time, it is also a very important cultural heritage as a sacred place of Chinese Buddhism and the dojo of Samantabhadra. It is included in the "List of World Cultural and Natural Heritage" by UNESCO for its "majestic, beautiful, divine, strange and spiritual" natural landscape and profound Buddhist culture.]]></dcterms:description>
    <dcterms:dateSubmitted><![CDATA[02/05/2023]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[ht61@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:medium><![CDATA[http://www.ems517.com/article/7/208.html]]></dcterms:medium>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[712]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1482">
    <dcterms:title><![CDATA[Mount Emei]]></dcterms:title>
    <dcterms:description><![CDATA[Mount Emei is located in the southwest of Sichuan Province, in the transition zone from the Sichuan Basin to the Qinghai-Tibet Plateau. The main peak is Wanfoding, the highest peak, with an altitude of 3099 meters. Due to the height and geographical location of Mount Emei, the scenery from the foot of the mountain to the top is varied and fascinating. Mount Emei is located in the confluence area of various natural elements, making it rich in biological species and endemic species. A complete subtropical vegetation system is preserved here, with a forest coverage rate of 87%. There are more than 100 kinds of plants that are only produced in Mount Emei or found in Mount Emei and named after Mount Emei.
At the same time, Mount Emei is one of the "Four Famous Buddhist Mountains in China". The spread of Buddhism and the construction and prosperity of temples have added a lot of mystery to Mount Emei.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102023]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[02/05/2023]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[ht61@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:medium><![CDATA[http://www.ems517.com/article/7/208.html,http://www.ems517.com/article/7/208.html]]></dcterms:medium>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[713]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,29.55777,103.34921;]]></dcterms:spatial>
    <dcterms:provenance><![CDATA[The People's Republic of China]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/787">
    <dcterms:title><![CDATA[Mount Emei, Sichuan]]></dcterms:title>
    <dcterms:subject><![CDATA[Immovable Culture Heritage]]></dcterms:subject>
    <dcterms:source><![CDATA[wordlheritage2022]]></dcterms:source>
    <dcterms:date><![CDATA[2010:11:10 05:43]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[05/02/2022 12:58:34 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[ah373@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[https://commons.wikimedia.org/wiki/File:Mt_emei.JPG]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,29.52567,103.336802;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/2190">
    <dcterms:title><![CDATA[Mount Fuji]]></dcterms:title>
    <dcterms:dateSubmitted><![CDATA[02/05/2024]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[Xiaotong]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[1051]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,34.33164282818271,135.91406229883435;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/2193">
    <dcterms:title><![CDATA[Mount Fuji]]></dcterms:title>
    <dcterms:subject><![CDATA[Immovable Culture Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[Mount Fuji is an active stratovolcano located on the Japanese island of Honshu, with a summit elevation of 3,776.24 m (12,389 ft 3 in). It is the tallest mountain in Japan, the second-highest volcano located on an island in Asia (after Mount Kerinci on the Indonesian island of Sumatra), and seventh-highest peak of an island on Earth. Mount Fuji last erupted from 1707 to 1708. The mountain is located about 100 km (62 mi) southwest of Tokyo and is visible from the Japanese capital on clear days. Mount Fuji's exceptionally symmetrical cone, which is covered in snow for about five months of the year, is commonly used as a cultural icon of Japan and is frequently depicted in art and photography, as well as visited by sightseers, hikers and mountain climbers. 
Mount Fuji is one of Japan's "Three Holy Mountains" along with Mount Tate and Mount Haku. It is a Special Place of Scenic Beauty and one of Japan's Historic Sites. It was added to the World Heritage List as a Cultural Site on June 22, 2013. According to UNESCO, Mount Fuji has "inspired artists and poets and been the object of pilgrimage for centuries". UNESCO recognizes 25 sites of cultural interest within the Mount Fuji locality. These 25 locations include the mountain and the Shinto shrine, Fujisan Hongū Sengen Taisha. ]]></dcterms:description>
    <dcterms:source><![CDATA[is51102024]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[02/05/2024]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[Xiaotong]]></dcterms:contributor>
    <dcterms:references><![CDATA[https://en.wikipedia.org/wiki/Mount_Fuji]]></dcterms:references>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[1053]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,35.154947570992306,138.72436422854665;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1005">
    <dcterms:title><![CDATA[Mount Kilimanjaro National Park]]></dcterms:title>
    <dcterms:subject><![CDATA[Immovable Culture Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[Mount Kilimanjaro National Park covers an area of 1668 sq km and is located in northern Tanzania close to the town of Moshi, 200 miles South of the Equator. the Park has been a game reserve since 1921 and was designated a National Park in 1973. The park was declared a World Heritage Site by UNESCO in 1987. the rainforest is home to many species of animals and birds including, leopard, rhino, elephant, buffalo.
Kilimanjaro is the highest mountain in Africa, and the tallest free-standing mountain in the world, reaching a height of 5895 meters (19,336 feet). It is a dormant volcano, with the diameter at its base being 40 miles. There are two main snow capped peaks, Kibo and Mawenzi. The vegetation around and up the mountain is very diverse and varied. Montane forest occurs between 1700 m and 2800m.
From about 2800m to 4000m it is a Semi-Desert where giant groundsels (Senecio Kilimanjari) that seem to guard the heights, are abundant. above 4000m the landscape is alpine desert which supports little life other than mosses and lichen. From here to the summit the land gradually changes into barren, bare rock and loose scree slopes. The summit, Uhuru Peak (5895m), is on the volcanic crater rim, with glaciers on the surrounding slopes and in the crater are several ice fields.
]]></dcterms:description>
    <dcterms:source><![CDATA[wordlheritage2022]]></dcterms:source>
    <dcterms:date><![CDATA[1973]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[10/05/2022]]></dcterms:dateSubmitted>
    <dcterms:><![CDATA[05/10/2022 07:36:05 pm]]></dcterms:>
    <dcterms:contributor><![CDATA[psr1]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[549]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,-3.049943052317152,37.35991122944572;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/356">
    <dcterms:title><![CDATA[Mount Qingcheng]]></dcterms:title>
    <dcterms:subject><![CDATA[Culture,Immovable Culture Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[Mount Qingcheng  is a mountain which can be considered one of the birthplaces of Taoism and one of the most important Taoist centres in China. As a centre of the Taoist religion it became host to many temples.]]></dcterms:description>
    <dcterms:source><![CDATA[isfiveoneonezero,worldheritagelayer]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[14/05/2021]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[Linxiang]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[278]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,31.001667,103.605278;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/355">
    <dcterms:title><![CDATA[Mount Qingcheng_1]]></dcterms:title>
    <dcterms:date><![CDATA[2004:07:31 00:24:21]]></dcterms:date>
    <dcterms:contributor><![CDATA[Linxiang]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,31.001667,103.605278;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/928">
    <dcterms:title><![CDATA[Mount rushmore]]></dcterms:title>
    <dcterms:subject><![CDATA[Tourism]]></dcterms:subject>
    <dcterms:description><![CDATA[Four of America's most significant presidents - George Washington, Abraham Lincoln, Teddy Roosevelt, and Thomas Jefferson – stand prominently in the Black Hills of South Dakota. The Lakota Sioux, a tribe native to the area, believed the Black Hills, where Mount Rushmore was built, to be holy, and they still do. The monument, which was developed by a South Dakota historian to include the faces of both Native American and western pioneer heroes, irrevocably transformed the landscape. [1]

Mount Rushmore was scanned with a laser in May of 2010. This virtual experience was made possible by 3D data collected at Mt. Rushmore as part of a cooperation between CyArk, a non-profit devoted to digitally conserving the world's cultural monuments, Historic Environment Scotland, the Glasgow School of Art, and the US National Park Service. For several weeks, experienced capture teams scanned and photographed Mt. Rushmore and most of the surrounding park, either from the ground or hung from ropes—it was an endeavour that, at least in its intricacy, mimicked the original sculpting process. The project aimed to establish the understanding about how the mountain was sculpted, the 3D model was paired with an interview with Blaine Kourtemayer, Assistant Chief of Interpretation.
Using the data gathered on the field, CyArk made resources available on a dedicated section in their website. The Website contains, EXIHBIT section which has all the information explaining the legacy, Historic context of Mount Rushmore. Exhibit section has the very vital information on preservation of the sculptures. Along with how the digitalization of the park is done. CyArk compiled a well structured digital guided tour of the park and Unstructured virtual tour of park. Most intriguing part of the project is the 3D Model of the park, which is highly detailed and these models are made available on the website with complete freedom of exploration on all the direction and scale. 
]]></dcterms:description>
    <dcterms:source><![CDATA[wordlheritage2022]]></dcterms:source>
    <dcterms:date><![CDATA[1927]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[10/05/2022]]></dcterms:dateSubmitted>
    <dcterms:><![CDATA[05/10/2022 07:07:25 pm]]></dcterms:>
    <dcterms:contributor><![CDATA[psr1]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[530]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,43.879110212402544,-103.45908816010207;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/999">
    <dcterms:title><![CDATA[Mount Rushmore]]></dcterms:title>
    <dcterms:source><![CDATA[wordlheritage2022]]></dcterms:source>
    <dcterms:contributor><![CDATA[psr1]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1626">
    <dcterms:title><![CDATA[Mount Sanqingshan]]></dcterms:title>
    <dcterms:subject><![CDATA[Immovable Culture Heritage,Tourism]]></dcterms:subject>
    <dcterms:description><![CDATA[Mount Sanqingshan National Park, located in Jiangxi Province, China, is a well-known world natural heritage site named after the three peaks of "Yujing, Yuhua and Yuxu". The park has a unique granite landform, and was recognized as a World Geopark in 2012. With a geological history of over 900 million years, the park boasts a rich variety of flora and fauna, including over 2,000 plant species and more than 400 vertebrate species, many of which are endemic to the region.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102023]]></dcterms:source>
    <dcterms:date><![CDATA[06/05/2023]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[05/06/2023 06:59:45 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[DiMei]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[-]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,28.68,118.25;origin,28.68,118.25;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1627">
    <dcterms:title><![CDATA[Mount Sanqingshan National Park]]></dcterms:title>
    <dcterms:subject><![CDATA[Tourism]]></dcterms:subject>
    <dcterms:description><![CDATA[Mount Sanqingshan National Park, located in Jiangxi Province, China, is a well-known world natural heritage site named after the three peaks of "Yujing, Yuhua and Yuxu". The park has a unique granite landform, and was recognized as a World Geopark in 2012. With a geological history of over 900 million years, the park boasts a rich variety of flora and fauna, including over 2,000 plant species and more than 400 vertebrate species, many of which are endemic to the region.

Furthermore, Mount Sanqingshan National Park has significant cultural and historical value in Taoist culture. The Taoist culture in Sanqing Mountain has a long history, dating back to Ge Hong in the Jin Dynasty, who emphasized the harmonious coexistence between man and nature to achieve the goal of becoming immortal. Today, the mountain and surrounding area contain ancient temples, shrines, and other religious structures, many of which have existed since the Ming and Qing dynasties.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102023]]></dcterms:source>
    <dcterms:date><![CDATA[900 million years ago]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[06/05/2023]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[DiMei]]></dcterms:contributor>
    <dcterms:references><![CDATA["Mount Sanqingshan National Park". UNESCO World Heritage Centre. United Nations Educational, Scientific, and Cultural Organization.]]></dcterms:references>
    <dcterms:extent><![CDATA[-cm x -cm x -cm]]></dcterms:extent>
    <dcterms:medium><![CDATA[https://en.wikipedia.org/wiki/Mount_Sanqing]]></dcterms:medium>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[751]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,28.68,118.25;]]></dcterms:spatial>
    <dcterms:provenance><![CDATA[Mount Sanqingshan National Park]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3810">
    <dcterms:title><![CDATA[Mountain Huangshan]]></dcterms:title>
    <dcterms:description><![CDATA[Mount Huangshan, also known as Yellow Mountain, is one of China’s most iconic and culturally resonant natural landmarks. Recognised as a UNESCO World Heritage Site for both its natural and cultural significance, Huangshan has inspired generations of poets, painters, and philosophers, and continues to hold a prominent place in Chinese cultural identity. As a mixed heritage site, it is home to 37 nationally protected higher plant species, alongside a rich diversity of flora and fauna uniquely adapted to its mountainous ecosystem. 

Beyond its ecological and cultural value, Mount Huangshan plays a critical role in the regional economy, drawing millions of domestic and international tourists each year. This high level of visitation supports local livelihoods but also places considerable pressure on the mountain’s fragile environment. Natural erosion, exacerbated by heavy foot traffic and extreme weather events, poses ongoing risks to biodiversity, heritage features, and visitor safety. 

In response to these challenges, targeted interventions aligned with the United Nations Sustainable Development Goals (SDGs) can support the long-term preservation of the site. Notably, SDG 4: Quality Education presents an opportunity to develop immersive, digital educational resources such as interactive virtual tours, augmented reality experiences, or gamified learning platforms to engage younger audiences. These tools could enhance awareness of the mountain’s historical, ecological, and cultural value while fostering environmental stewardship among future generations.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[03/27/2025 06:51:28 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[zyyyyyyyyy]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Public Domain (no conditions)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[Wikipedia]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3811">
    <dcterms:title><![CDATA[Mountain Huangshan]]></dcterms:title>
    <dcterms:description><![CDATA[Mount Huangshan, also known as Yellow Mountain, is one of China’s most iconic and culturally resonant natural landmarks. Recognised as a UNESCO World Heritage Site for both its natural and cultural significance, Huangshan has inspired generations of poets, painters, and philosophers, and continues to hold a prominent place in Chinese cultural identity. As a mixed heritage site, it is home to 37 nationally protected higher plant species, alongside a rich diversity of flora and fauna uniquely adapted to its mountainous ecosystem. 

Beyond its ecological and cultural value, Mount Huangshan plays a critical role in the regional economy, drawing millions of domestic and international tourists each year. This high level of visitation supports local livelihoods but also places considerable pressure on the mountain’s fragile environment. Natural erosion, exacerbated by heavy foot traffic and extreme weather events, poses ongoing risks to biodiversity, heritage features, and visitor safety. 

In response to these challenges, targeted interventions aligned with the United Nations Sustainable Development Goals (SDGs) can support the long-term preservation of the site. Notably, SDG 4: Quality Education presents an opportunity to develop immersive, digital educational resources such as interactive virtual tours, augmented reality experiences, or gamified learning platforms to engage younger audiences. These tools could enhance awareness of the mountain’s historical, ecological, and cultural value while fostering environmental stewardship among future generations. ]]></dcterms:description>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[27/03/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[zyyyyyyyyy]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:medium><![CDATA[Wikipedia]]></dcterms:medium>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[1427]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,29° 41' 59.99" N,118° 17' 60.00" E;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3812">
    <dcterms:title><![CDATA[Mountain Huangshan]]></dcterms:title>
    <dcterms:description><![CDATA[Mount Huangshan, also known as Yellow Mountain, is one of China’s most iconic and culturally resonant natural landmarks. Recognised as a UNESCO World Heritage Site for both its natural and cultural significance, Huangshan has inspired generations of poets, painters, and philosophers, and continues to hold a prominent place in Chinese cultural identity. As a mixed heritage site, it is home to 37 nationally protected higher plant species, alongside a rich diversity of flora and fauna uniquely adapted to its mountainous ecosystem. 

Beyond its ecological and cultural value, Mount Huangshan plays a critical role in the regional economy, drawing millions of domestic and international tourists each year. This high level of visitation supports local livelihoods but also places considerable pressure on the mountain’s fragile environment. Natural erosion, exacerbated by heavy foot traffic and extreme weather events, poses ongoing risks to biodiversity, heritage features, and visitor safety. 

In response to these challenges, targeted interventions aligned with the United Nations Sustainable Development Goals (SDGs) can support the long-term preservation of the site. Notably, SDG 4: Quality Education presents an opportunity to develop immersive, digital educational resources such as interactive virtual tours, augmented reality experiences, or gamified learning platforms to engage younger audiences. These tools could enhance awareness of the mountain’s historical, ecological, and cultural value while fostering environmental stewardship among future generations. ]]></dcterms:description>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[27/03/2025]]></dcterms:dateSubmitted>
    <dcterms:><![CDATA[04/25/2025 08:25:32 pm]]></dcterms:>
    <dcterms:contributor><![CDATA[zyyyyyyyyy]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:medium><![CDATA[Wikipedia]]></dcterms:medium>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[1428]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,30,118;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/565">
    <dcterms:title><![CDATA[Mukden Palace]]></dcterms:title>
    <dcterms:dateSubmitted><![CDATA[05/21/2021 06:06:17 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[mc387]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/566">
    <dcterms:title><![CDATA[Mukden Palace]]></dcterms:title>
    <dcterms:description><![CDATA[The Mukden Palace , or Shenyang Imperial Palace, was the former imperial palace of the early Manchu-led Qing dynasty. It was built in 1625, and the first three Qing emperors lived there from 1625 to 1644. Since the collapse of imperial rule in China, the palace has been converted to a museum that now lies in the center of Shenyang, Liaoning.

The Mukden Palace covers an area of around 60,000 square meters, with over 300 buildings and 20 courtyards. According to its layout, it can be divided into three parts: East Section, Middle Section and West Section, and set Middle Section as the main body. The East and West Sections were built in the Nurhachi Period. The layout of the building from the Eight Banners system in the East Section is a unique feature of the Mukden Palace. It is the stereotype of the minority system reflect on the architecture of the Qing Dynasty. It fully combines the integration of the architectural features of Han, Manchu and Mongolian ethnic minority.]]></dcterms:description>
    <dcterms:source><![CDATA[isfiveoneonezero,worldheritagelayer]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[21/05/2021]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[mc387]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[364]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,41.796161,123.450708;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/76">
    <dcterms:title><![CDATA[Muni Pomasdze Lagoon]]></dcterms:title>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[76]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,5.3276659,-0.6480606;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/33">
    <dcterms:title><![CDATA[Municiplality Cortes de Pallas]]></dcterms:title>
    <dcterms:description><![CDATA[Cortes de Pallás is a municipality in the comarca of Valle de Cofrentes in the Valencian Community, Spain.]]></dcterms:description>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[33]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,39.243306,-0.9407647;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/509">
    <dcterms:title><![CDATA[Mural]]></dcterms:title>
    <dcterms:contributor><![CDATA[ww52]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Public Domain (no conditions)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1913">
    <dcterms:title><![CDATA[Murin Khuur]]></dcterms:title>
    <dcterms:subject><![CDATA[Culture]]></dcterms:subject>
    <dcterms:description><![CDATA[The Morin Khuur, Mongolia's traditional bowstring instrument, holds deep cultural significance, symbolizing the nation and recognized as vital intangible heritage by UNESCO. Its name originates from the horse's head shaped engraving at the head of the instrument. Crafted from wood and strung with horsetail or ox tendon, the Morin Khuur's tones are produced by the artist's skillful manipulation of tension and vibration patterns while playing with a bow.This unique instrument plays a pivotal role in Mongolian and Tuvan cult ures, frequently featured in folk performances and rituals.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102024]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[03/21/2024 12:55:48 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[Xiaotong]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,40.953351273112844,110.61913982033731;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3952">
    <dcterms:title><![CDATA[Murray's Bay Harbour]]></dcterms:title>
    <dcterms:subject><![CDATA[Immovable Culture Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[Murray's Bay Harbour was built during World War 2, to enable transport of defence weapons to the island as part of its status as a millitary station for the Union of South Africa after they declared war on Germany in 1939. Just off the coast, off the tip of Africa, protecting water around this area was important due to its importance to shipping lanes, especially given the turmoil around the Suez Canal. During the war, a degaussing station was also built adjacent to the harbour. This was built because the Germans were using magnetic mines, and ships needed to have the magnetic fields induced on them neutralised. Reportedly, they dealt with thousands of ships during the war. 

The harbour was expanded in the 1950s, and a high wall was built block the view of Table Bay by prisoners.

Today, the harbour is used by ferrys bringing tourists over from the mainland for tours with the Robben Island Museum, the current stewards of the island.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102025,robbenisland]]></dcterms:source>
    <dcterms:date><![CDATA[1939]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[25/04/2025]]></dcterms:dateSubmitted>
    <dcterms:><![CDATA[04/25/2025 11:50:26 pm]]></dcterms:>
    <dcterms:contributor><![CDATA[ec349@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:references><![CDATA[https://www.cape-town-heritage.co.za/heritage-site/murray-s-bay-harbour.html, https://www.robben-island.org.za/army-1941-1945/, https://indicatorloops.com/southafrica.htm, https://www.robben-island.org.za/banishment-1939-now/]]></dcterms:references>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[1478]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,-33.797647709660396,18.376511334718092;]]></dcterms:spatial>
    <dcterms:provenance><![CDATA[Government of South Africa]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3948">
    <dcterms:title><![CDATA[Murray's Bay Harbour Sea View]]></dcterms:title>
    <dcterms:subject><![CDATA[Immovable Culture Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[A view of the breakwater out of Murray's Bay Harbour]]></dcterms:description>
    <dcterms:date><![CDATA[2015:09:14 18:47:22]]></dcterms:date>
    <dcterms:contributor><![CDATA[ec349@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[https://commons.wikimedia.org/wiki/File:ASC_Leiden_-_Rietveld_Collection_-_11_-_Pier_of_concrete_blocks._Murray%27s_Bay_Harbor_on_Robben_Island_-_2015.jpg]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,-33.79828607453783,18.37823438650958;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3949">
    <dcterms:title><![CDATA[Murray's Bay Harbour Sea View]]></dcterms:title>
    <dcterms:subject><![CDATA[Immovable Culture Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[A view of the breakwater out of Murray's Bay Harbour]]></dcterms:description>
    <dcterms:date><![CDATA[2015:09:14 18:47:22]]></dcterms:date>
    <dcterms:contributor><![CDATA[ec349@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[https://commons.wikimedia.org/wiki/File:ASC_Leiden_-_Rietveld_Collection_-_11_-_Pier_of_concrete_blocks._Murray%27s_Bay_Harbor_on_Robben_Island_-_2015.jpg]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,-33.79828607453783,18.37823438650958;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/45">
    <dcterms:title><![CDATA[Museo Comunitario de Boruca]]></dcterms:title>
    <dcterms:description><![CDATA[El museo busca resaltar las técnicas ancestrales de fabricación y tejido natural de artesanía, concretamente los tejidos con hilos, bejucos y el labrado de máscaras. Además pretende revitalizar la cultura tradicional de Boruca. El inmueble mismo del museo es un ejemplo del tipo de rancho que se utilizó en la antigüedad como vivienda tradicional de los indígenas. The museum seeks to highlight the ancestral techniques of manufacturing and natural weaving of craftwork, specifically weavings with threads, vines and the carving of masks. It also aims to revitalise the traditional culture of Boruca. The museum's building itself is an example of the type of ranch that was used in ancient times as a traditional housing of indigenous people.]]></dcterms:description>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[45]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,9.0015485,-83.3259972;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/44">
    <dcterms:title><![CDATA[Museo Comunitario Yimba Cajc Rey Curre]]></dcterms:title>
    <dcterms:description><![CDATA[El museo está hecho por la comunidad y para la comunidad, donde se cuenta la memoria del pueblo con la voz y el trabajo de sus propios pobladores. En su arquitectura representa los diferentes momentos históricos de la vivienda en la comunidad y al igual que la museografía, es producto del trabajo talentoso de artesanos y constructores de Curré. Representa además una ventana al pasado precolombino, el cual se complementa con las esferas de piedra que resguardan la entrada del museo. También tiene en exposición, los orígenes de la comunidad, la vida de sus primeros pobladores y las luchas por la autonomía del territorio indígena. The museum is made by the community and for the community, where the memory of the people is told with the voice and work of its own inhabitants. Its architecture represents the different historical moments of housing in the community and, like the museography, it is the product of the talented work of artisans and builders of Curré. It also represents a window to the pre-Columbian past, which is complemented by the stone spheres that protect the entrance to the museum. It also displays the origins of the community, the life of its first settlers and the struggles for the autonomy of the indigenous territory.]]></dcterms:description>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[44]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,8.9801315,-83.2667541;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/51">
    <dcterms:title><![CDATA[Museo de Art Contemporaneo]]></dcterms:title>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[51]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,-39.81274481274511,-73.2505136266721;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/43">
    <dcterms:title><![CDATA[Museo de Cultura Popular]]></dcterms:title>
    <dcterms:description><![CDATA[The Museum of Popular Culture is located in the district of Santa Lucia.]]></dcterms:description>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[43]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,10.018193300813941,-84.11535152883606;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/50">
    <dcterms:title><![CDATA[Museo de la Exploracion Rudolph Amandus Phillippi]]></dcterms:title>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[50]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,-39.81319444444444,-73.25167222222223;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/49">
    <dcterms:title><![CDATA[Museo de Sitio Castillo de Niebla]]></dcterms:title>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[49]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,-39.87072222222,-73.40229797978;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/48">
    <dcterms:title><![CDATA[Museo Despierta Hermano]]></dcterms:title>
    <dcterms:description><![CDATA[The museum was born in 1996 from a community-school proposal with the purpose of rescuing the mapuche culture’s memory and remember and make present the belonging of these people to the community. Currently, the museum has become a great family chest, holding objects that have been preserved and passed down for generations to be donated and shared with the new generations and thus strengthen and share the identity of all who are apart of the Malalhue community. El museo nace el año 1996, de una propuesta comunitaria-escolar, con el propósito de rescatar la memoria de la cultura mapuche, y de recordar y hacer presente la pertenencia de este pueblo a la comunidad. Actualmente el Museo se ha convertido en un gran baúl familiar, albergando objetos que se han conservado y traspasado por generaciones, para luego ser donados y compartidos con las nuevas generaciones y de esta forma fortalecer y compartir la identidad de todos quienes forman parte de la Comunidad malalhüina.]]></dcterms:description>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[48]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,-39.541194,-72.508313;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/252">
    <dcterms:title><![CDATA[Museo Lagomar]]></dcterms:title>
    <dcterms:subject><![CDATA[Immovable Culture Heritage,Underwater Cultural Heritage,Tourism]]></dcterms:subject>
    <dcterms:description><![CDATA[One of Lanzarote’s most spectacular private properties, majestically formed around the same rocks from which it was built, a volcanic quarry with natural labyrinths and caves. A truly spectacular work of art created by Nature from the molten lava which once flowed down these same slopes of the ancient volcano above LagOmar.
Originally conceived by César Manrique and designed by the artist Jesús Soto for the British developer Sam Benady with an architectural vision which could evoke mental imagery from the arabian nights mythology.
In the early 1970s actor Omar Sharif came to Lanzarote to film “The Mysterious Island”, he visited LagOmar, fell in love with it and bought it.

San Benady knowing Sharif’s reputation as a card player challenged him to a game of Bridge. Sharif accepted the challenge, not realizing that Benady was also a champion Bridge player, and allegedly lost the house.

In 1989 architects Dominik von Boettinger from Germany and Beatriz van Hoff from Uruguay bought the house and initiated the last phase of development. They sought the advice of local artists and created a vernacular architecture inspired by the elements and the island’s capricious topography.

The existing caves were refurbished using wood and artifacts from local shipwrecks, for the beams and lights. Local flora was incorporated in the design: cactus, palm, aloes and bougainvillea, to form an oasis within the rock. They used glass, washed concrete and pebbles to generate circular patios, the lake, cascades and a series of curvaceous spaces avoiding all forms of square tiling whatsoever.]]></dcterms:description>
    <dcterms:source><![CDATA[worldheritagelayer]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[19/04/2021]]></dcterms:dateSubmitted>
    <dcterms:><![CDATA[04/24/2021 09:37:55 am]]></dcterms:>
    <dcterms:contributor><![CDATA[sis1]]></dcterms:contributor>
    <dcterms:references><![CDATA[http://www.lag-o-mar.com/]]></dcterms:references>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:medium><![CDATA[http://www.lag-o-mar.com/]]></dcterms:medium>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[238]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,29.04515401020823,-13.555105179548265;]]></dcterms:spatial>
    <dcterms:provenance><![CDATA[Private property]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/253">
    <dcterms:title><![CDATA[Museo Lagomar]]></dcterms:title>
    <dcterms:description><![CDATA[One of Lanzarote’s most spectacular private properties, majestically formed around the same rocks from which it was built, a volcanic quarry with natural labyrinths and caves. A truly spectacular work of art created by Nature from the molten lava which once flowed down these same slopes of the ancient volcano above LagOmar.
Originally conceived by César Manrique and designed by the artist Jesús Soto for the British developer Sam Benady with an architectural vision which could evoke mental imagery from the arabian nights mythology.
In the early 1970s actor Omar Sharif came to Lanzarote to film “The Mysterious Island”, he visited LagOmar, fell in love with it and bought it.

San Benady knowing Sharif’s reputation as a card player challenged him to a game of Bridge. Sharif accepted the challenge, not realizing that Benady was also a champion Bridge player, and allegedly lost the house.

In 1989 architects Dominik von Boettinger from Germany and Beatriz van Hoff from Uruguay bought the house and initiated the last phase of development. They sought the advice of local artists and created a vernacular architecture inspired by the elements and the island’s capricious topography.

The existing caves were refurbished using wood and artifacts from local shipwrecks, for the beams and lights. Local flora was incorporated in the design: cactus, palm, aloes and bougainvillea, to form an oasis within the rock. They used glass, washed concrete and pebbles to generate circular patios, the lake, cascades and a series of curvaceous spaces avoiding all forms of square tiling whatsoever.]]></dcterms:description>
    <dcterms:dateSubmitted><![CDATA[19/04/2021]]></dcterms:dateSubmitted>
    <dcterms:><![CDATA[04/24/2021 09:37:38 am]]></dcterms:>
    <dcterms:contributor><![CDATA[sis1]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[239]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/254">
    <dcterms:title><![CDATA[Museo Lagomar]]></dcterms:title>
    <dcterms:description><![CDATA[One of Lanzarote’s most spectacular private properties, majestically formed around the same rocks from which it was built, a volcanic quarry with natural labyrinths and caves. A truly spectacular work of art created by Nature from the molten lava which once flowed down these same slopes of the ancient volcano above LagOmar.
Originally conceived by César Manrique and designed by the artist Jesús Soto for the British developer Sam Benady with an architectural vision which could evoke mental imagery from the arabian nights mythology.
In the early 1970s actor Omar Sharif came to Lanzarote to film “The Mysterious Island”, he visited LagOmar, fell in love with it and bought it.

San Benady knowing Sharif’s reputation as a card player challenged him to a game of Bridge. Sharif accepted the challenge, not realizing that Benady was also a champion Bridge player, and allegedly lost the house.

In 1989 architects Dominik von Boettinger from Germany and Beatriz van Hoff from Uruguay bought the house and initiated the last phase of development. They sought the advice of local artists and created a vernacular architecture inspired by the elements and the island’s capricious topography.

The existing caves were refurbished using wood and artifacts from local shipwrecks, for the beams and lights. Local flora was incorporated in the design: cactus, palm, aloes and bougainvillea, to form an oasis within the rock. They used glass, washed concrete and pebbles to generate circular patios, the lake, cascades and a series of curvaceous spaces avoiding all forms of square tiling whatsoever.]]></dcterms:description>
    <dcterms:dateSubmitted><![CDATA[19/04/2021]]></dcterms:dateSubmitted>
    <dcterms:><![CDATA[04/24/2021 09:39:42 am]]></dcterms:>
    <dcterms:contributor><![CDATA[sis1]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:medium><![CDATA[http://www.lag-o-mar.com/]]></dcterms:medium>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[240]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/255">
    <dcterms:title><![CDATA[Museo Lagomar]]></dcterms:title>
    <dcterms:subject><![CDATA[Immovable Culture Heritage,Tourism]]></dcterms:subject>
    <dcterms:source><![CDATA[worldheritagelayer,worldheritagelayer]]></dcterms:source>
    <dcterms:contributor><![CDATA[sis1]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[http://www.lag-o-mar.com/]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,29.04517042441829,-13.555095791816713;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/256">
    <dcterms:title><![CDATA[Museo Lagomar]]></dcterms:title>
    <dcterms:subject><![CDATA[Immovable Culture Heritage,Tourism]]></dcterms:subject>
    <dcterms:source><![CDATA[isfiveoneonezero,worldheritagelayer,worldheritagelayer]]></dcterms:source>
    <dcterms:contributor><![CDATA[sis1]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[http://www.lag-o-mar.com/]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,29.04517042441829,-13.555095791816713;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/257">
    <dcterms:title><![CDATA[Museo Lagomar]]></dcterms:title>
    <dcterms:subject><![CDATA[Immovable Culture Heritage,Tourism]]></dcterms:subject>
    <dcterms:contributor><![CDATA[sis1]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[http://www.lag-o-mar.com/]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,29.04517042441829,-13.555095791816713;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/46">
    <dcterms:title><![CDATA[Museo Nacional Sican]]></dcterms:title>
    <dcterms:description><![CDATA[The Museo Nacional Sicán is a museum situated in the city of Ferreñafe within easy reach, 20 Km north of the city of Chiclayo. It is along the road to the Bosque de Pómac Historical Sanctuary. The museum was inaugurated in November 2001.]]></dcterms:description>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[46]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,-6.6238178395084635,-79.78572785396727;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/47">
    <dcterms:title><![CDATA[Museo Tucume]]></dcterms:title>
    <dcterms:description><![CDATA[El Museo Túcume se ubica en la costa norte del Perú, en la provincia de Lambayeque, depende del Sistema Nacional de Museos del Ministerio de Cultura del Perú. Desarrolla un trabajo de investigación científica y social al incorporar a las comunidades locales en un proceso permanente de acercamiento, buscando no sólo la conservación del patrimonio cultural, sino su adecuado manejo. Esta labor se desarrolla en diversos campos como la educación escolar, la exploración y aprendizaje de tecnologías ancestrales, la recuperación de las tradiciones orales, la gastronomía, saberes productivos y la revaloración de la música y danzas locales tradicionales. The Túcume Museum is located on the north coast of Peru, in the province of Lambayeque, it depends on the National System of Museums of the Ministry of Culture of Peru. It develops scientific and social research by incorporating local communities in a permanent approach process, seeking not only the conservation of cultural heritage but its proper management. This work is carried out in various fields such as school education, the exploration and learning of ancestral technologies, the recovery of oral traditions, gastronomy, productive knowledge and the revaluation of traditional local music and dances.]]></dcterms:description>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[47]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,-6.516898551321064,-79.84292574893493;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/32">
    <dcterms:title><![CDATA[Museu Comorcal de l'Horta Sud]]></dcterms:title>
    <dcterms:description><![CDATA[The museum is a center where the cultural heritage of the region of l'Horta Sud is exposed. It performs the functions of exhibition, conservation and diffusion of the ethnographic heritage of the municipalities of the south of Valencia. Among its objectives is the social and cultural dynamization of its territory based on the elements and signs of identity that have shaped the personality of the region, where the rural heritage and its landscape are fundamental. El museo expone el patrimonio cultural de la comarca de l’Horta Sud. Desempeña las funciones de exposición, conservación y difusión del patrimonio etnográfico de los municipios del sur de Valencia. Entre sus objetivos se halla la dinamización social y cultural de su territorio en base a los elementos y señas de identidad que han configurado la personalidad de la comarca, donde el patrimonio rural y su paisaje son fundamentales. l Museu Comarcal de l'Horta Sud Josep Ferrís March nace por iniciativa de la Fundación para el Desarrollo de l’Horta Sud dentro de sus programas de actuación con la finalidad de dar a conocer la cultura tradicional de la comarca que durante siglos ha constituido, sin duda, la señal de identidad que ha otorgado una personalidad propia a este territorio. En noviembre de 1995 la Fundación adquiere la propiedad de un inmueble situado en la antigua calle del Pi para instalar el museo. A partir de ese momento empieza la tarea de recogida de piezas que han aportado los vecinos de la comarca para poder configurar las colecciones. El museo, de acuerdo con la legislación autonómica vigente, fue reconocido como tal mediante orden del Concejal de Cultura, Educación y Ciencia de la Generalitat Valenciana el 28 de febrero de 1996. Para gestionar el museo se ha adoptado la forma jurídica de un consorcio, que actualmente está formado por cuatro instituciones: la Mancomunitat Intermunicipal de l’Horta Sud, el Ayuntamiento de Torrent, la Fundación para el Desarrollo de l’Horta Sud y Caixa Rural Torrent. Este consorcio se constituyó el 3 de mayo de 2000, motivo por el que la Fundación para el Desarrollo de l’Horta Sud cedió al consorcio el uso del edificio y de las colecciones aportadas hasta ese momento. Las obras de rehabilitación del inmueble finalizaron a finales del año 1999, cuando empezaron los trabajos de montaje de la exposición permanente. Las instalaciones fueron inauguradas y abiertas al público el 28 de junio de 2000 por parte del entonces Presidente .]]></dcterms:description>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[32]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,39.435305813666545,-0.46233321408615247;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/35">
    <dcterms:title><![CDATA[Museu de les Ciences Principes Felipe]]></dcterms:title>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[35]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,39.4560206,-0.3541159;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/34">
    <dcterms:title><![CDATA[Museu del Palmito d'Aldaia]]></dcterms:title>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[34]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,39.4649594,-0.4624001;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/31">
    <dcterms:title><![CDATA[Museu Nacional de Arqueologia]]></dcterms:title>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[31]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,38.6972383,-9.2079878;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/22">
    <dcterms:title><![CDATA[Museum Nord]]></dcterms:title>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[22]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,68.5012504668424,14.800812728118899;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/2914">
    <dcterms:title><![CDATA[Museum of Folk Architecture]]></dcterms:title>
    <dcterms:subject><![CDATA[Immovable Culture Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[Poland's largest open-air folk museum.

Abandoned buildings from various cultures across Poland were moved to the open-air museum in Sanok and renovated to keep displaced culture alive after the First and Second World Wars.
]]></dcterms:description>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:date><![CDATA[16th June 2023]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[02/24/2025 02:16:46 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[Diana]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Public Domain (no conditions)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,49.57688810133919,22.205414772006407;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/2891">
    <dcterms:title><![CDATA[Museum of Islay Life]]></dcterms:title>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[1216]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,55.7424726,-6.378812;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/2892">
    <dcterms:title><![CDATA[Museum Wales]]></dcterms:title>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[1217]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,51.4857716,-3.1778126;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/2893">
    <dcterms:title><![CDATA[Museums and Heritage Highland]]></dcterms:title>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[1218]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,57.38205847863729,-5.461083922827252;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/2894">
    <dcterms:title><![CDATA[Museums monuments portugal]]></dcterms:title>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[1219]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,38.707535,-9.1981044;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/275">
    <dcterms:title><![CDATA[Mystical hertiage of Indus Valley Civilization : Mohenjo Daro]]></dcterms:title>
    <dcterms:subject><![CDATA[Culture,Intangible Heritage]]></dcterms:subject>
    <dcterms:contributor><![CDATA[Apeksha]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:format><![CDATA[video/x-jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[Youtube]]></dcterms:medium>
    <dcterms:type><![CDATA[Moving Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/274">
    <dcterms:title><![CDATA[Mystical Mohenjo Daro]]></dcterms:title>
    <dcterms:subject><![CDATA[Culture,Intangible Heritage]]></dcterms:subject>
    <dcterms:source><![CDATA[worldheritagelayer]]></dcterms:source>
    <dcterms:contributor><![CDATA[Apeksha]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:format><![CDATA[video/x-jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[Youtube]]></dcterms:medium>
    <dcterms:type><![CDATA[Moving Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/276">
    <dcterms:title><![CDATA[Mystical Mohenjo Daro | Indus Valley Civilization]]></dcterms:title>
    <dcterms:subject><![CDATA[Culture,Intangible Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[A brief history of one of the oldest civilizations, the Indus Valley Civilization, which is well known for its mesmerizing and sophisticated urban architecture.]]></dcterms:description>
    <dcterms:source><![CDATA[collaborations,isfiveoneonezero,worldheritagelayer]]></dcterms:source>
    <dcterms:contributor><![CDATA[Apeksha]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:format><![CDATA[video/x-jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[Youtube]]></dcterms:medium>
    <dcterms:type><![CDATA[Moving Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,27° 19' 27.00" N,68° 08' 12.00" E;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3864">
    <dcterms:title><![CDATA[N&uuml;shu]]></dcterms:title>
    <dcterms:subject><![CDATA[Intangible Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[Nüshu, meaning "women's writing," is a rare syllabic script that developed from Chinese characters. It emerged in Jiangyong County, Hunan Province, during the Ming and Qing dynasties. Created and used exclusively by women, Nüshu is distinguished by its slender, rhomboid-shaped characters and fine, thread-like strokes. Traditionally, it is written vertically from right to left, differing from standard Chinese writing. This unique script not only met women’s personal and emotional needs but also reflected a quiet defiance against societal norms and the patriarchal system.

Nüshu served as a means for women to share their thoughts, document traditions, and maintain connections, particularly through letters and songs. Many of these writings were inscribed on fans, handkerchiefs, and cloth. As the world’s only known gender-specific writing system, Nüshu is a valuable piece of intangible cultural heritage. It holds significant linguistic, anthropological, and feminist importance, offering insight into the resilience and creativity of marginalized women.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:date><![CDATA[29 Mar 2025]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[29/03/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[Yilei Xiao]]></dcterms:contributor>
    <dcterms:references><![CDATA[https://www.bbc.co.uk/travel/article/20200930-nshu-chinas-secret-female-only-language]]></dcterms:references>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[1445]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,25°16′01″N ,111°20′51″E;origin,25°16′01″N ,111°20′51″E;find,25°16′01″N ,111°20′51″E;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3865">
    <dcterms:title><![CDATA[N&uuml;shu]]></dcterms:title>
    <dcterms:subject><![CDATA[Intangible Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[Nüshu, meaning "women's writing," is a rare syllabic script that developed from Chinese characters. It emerged in Jiangyong County, Hunan Province, during the Ming and Qing dynasties. Created and used exclusively by women, Nüshu is distinguished by its slender, rhomboid-shaped characters and fine, thread-like strokes. Traditionally, it is written vertically from right to left, differing from standard Chinese writing. This unique script not only met women’s personal and emotional needs but also reflected a quiet defiance against societal norms and the patriarchal system.

Nüshu served as a means for women to share their thoughts, document traditions, and maintain connections, particularly through letters and songs. Many of these writings were inscribed on fans, handkerchiefs, and cloth. As the world’s only known gender-specific writing system, Nüshu is a valuable piece of intangible cultural heritage. It holds significant linguistic, anthropological, and feminist importance, offering insight into the resilience and creativity of marginalized women.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:date><![CDATA[29 Mar 2025]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[29/03/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[Yilei Xiao]]></dcterms:contributor>
    <dcterms:references><![CDATA[https://www.bbc.co.uk/travel/article/20200930-nshu-chinas-secret-female-only-language]]></dcterms:references>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[1446]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,25°16′01″N ,111°20′51″E;origin,25°16′01″N ,111°20′51″E;find,25°16′01″N ,111°20′51″E;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3866">
    <dcterms:title><![CDATA[N&uuml;shu]]></dcterms:title>
    <dcterms:subject><![CDATA[Intangible Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[Nüshu, meaning "women's writing," is a rare syllabic script that developed from Chinese characters. It emerged in Jiangyong County, Hunan Province, during the Ming and Qing dynasties. Created and used exclusively by women, Nüshu is distinguished by its slender, rhomboid-shaped characters and fine, thread-like strokes. Traditionally, it is written vertically from right to left, differing from standard Chinese writing. This unique script not only met women’s personal and emotional needs but also reflected a quiet defiance against societal norms and the patriarchal system.

Nüshu served as a means for women to share their thoughts, document traditions, and maintain connections, particularly through letters and songs. Many of these writings were inscribed on fans, handkerchiefs, and cloth. As the world’s only known gender-specific writing system, Nüshu is a valuable piece of intangible cultural heritage. It holds significant linguistic, anthropological, and feminist importance, offering insight into the resilience and creativity of marginalized women.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:date><![CDATA[29 Mar 2025]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[29/03/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[Yilei Xiao]]></dcterms:contributor>
    <dcterms:references><![CDATA[https://www.bbc.co.uk/travel/article/20200930-nshu-chinas-secret-female-only-language]]></dcterms:references>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[1447]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,25°16′01″N ,111°20′51″E;origin,25°16′01″N ,111°20′51″E;find,25°16′01″N ,111°20′51″E;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3867">
    <dcterms:title><![CDATA[N&uuml;shu]]></dcterms:title>
    <dcterms:subject><![CDATA[Intangible Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[Nüshu, meaning "women's writing," is a rare syllabic script that developed from Chinese characters. It emerged in Jiangyong County, Hunan Province, during the Ming and Qing dynasties. Created and used exclusively by women, Nüshu is distinguished by its slender, rhomboid-shaped characters and fine, thread-like strokes. Traditionally, it is written vertically from right to left, differing from standard Chinese writing. This unique script not only met women’s personal and emotional needs but also reflected a quiet defiance against societal norms and the patriarchal system.

Nüshu served as a means for women to share their thoughts, document traditions, and maintain connections, particularly through letters and songs. Many of these writings were inscribed on fans, handkerchiefs, and cloth. As the world’s only known gender-specific writing system, Nüshu is a valuable piece of intangible cultural heritage. It holds significant linguistic, anthropological, and feminist importance, offering insight into the resilience and creativity of marginalized women.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:date><![CDATA[29 Mar 2025]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[29/03/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[Yilei Xiao]]></dcterms:contributor>
    <dcterms:references><![CDATA[https://www.bbc.co.uk/travel/article/20200930-nshu-chinas-secret-female-only-language]]></dcterms:references>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[1448]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,25°16′01″N ,111°20′51″E;origin,25°16′01″N ,111°20′51″E;find,25°16′01″N ,111°20′51″E;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3873">
    <dcterms:title><![CDATA[N&uuml;shu]]></dcterms:title>
    <dcterms:subject><![CDATA[Intangible Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[Nvshu, literally “women’s writing,” is an intangible unique syllabic script derived from Chinese characters. It originated in Jiangyong County, Hunan Province in China, during the Ming and Qing dynasties. Created and used exclusively by women, this script is characterized by its rhomboid shape and delicate, thread-like strokes. The way of writing Nüshu is usually vertically from right to left. This writing style is in contrast to that of Chinese characters, aligns with women’s spiritual needs and seems to be the resistance against traditional norms and the patriarchal system. Nüshu served as a medium for women to express emotions and fold raditions, share personal narratives, build female solidarity, particularly through letters and 
ongs. Some are inscribed on fans, handkerchiefs, and cloth. This world’s only gender-exclusive writing system represents a form of intangible cultural heritage. It holds immense linguistic, anthropological, and feminist significance, offering insights into marginalized women’s resilience and creativity]]></dcterms:description>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:date><![CDATA[29 March]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[29/03/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[Yilei Xiao]]></dcterms:contributor>
    <dcterms:references><![CDATA[https://en.wikipedia.org/wiki/Nushu_(Unicode_block)]]></dcterms:references>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:medium><![CDATA[https://en.wikipedia.org/wiki/N%C3%BCshu]]></dcterms:medium>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[1451]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,26.406015639797612,111.59560203552248;origin,25°16′01″N ,111°20′51″E;find,25°16′01″N ,111°20′51″E;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3863">
    <dcterms:title><![CDATA[N&uuml;shu is a women's-only script that was passed down from mothers to their daughters in feudal-society China]]></dcterms:title>
    <dcterms:subject><![CDATA[Immovable Culture Heritage,Intangible Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[Nüshu, a script exclusive to women, was traditionally transmitted from mothers to daughters in feudal China.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:date><![CDATA[NA]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[03/29/2025 06:21:24 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[Yilei Xiao]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/png]]></dcterms:format>
    <dcterms:medium><![CDATA[https://www.cpamedia.com/]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,25°16′01″N, 111°20′51″E;origin,25°16′01″N, 111°20′51″E;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/267">
    <dcterms:title><![CDATA[Nairobi National Museums]]></dcterms:title>
    <dcterms:subject><![CDATA[Culture,Movable Cultural Heritage,Tourism]]></dcterms:subject>
    <dcterms:description><![CDATA[The National Museums of Kenya (NMK) is a state corporation and it manages all the regional museums, sites and monuments in Kenya. It is established by an Act of Parliament, the Museums and natural heritage. Nairobi National Museum and the headquarters of NMK are located on Museum Hill together.  The purpose of NMK is to enhancing knowledge, appreciation, respect and sustainable utilization of these resources for the benefit of Kenya and the world, for now, and posterity. Nairobi National Museum aims to interpret Kenya’s rich heritage and offers a one-stop for visitors to sample the country’s rich heritage both for education and leisure. In addition to the museum, visitors are treated to a variety of shopping and dining facilities, as well as botanical gardens that offer a serene environment.]]></dcterms:description>
    <dcterms:source><![CDATA[isfiveoneonezero,worldheritagelayer]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[22/04/2021]]></dcterms:dateSubmitted>
    <dcterms:><![CDATA[04/22/2021 05:18:06 pm]]></dcterms:>
    <dcterms:contributor><![CDATA[js458]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[243]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,-1.292016725163837,36.82190729580168;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1642">
    <dcterms:title><![CDATA[Nan Madol ]]></dcterms:title>
    <dcterms:description><![CDATA[Nan Madol is located near the southern side of the Federated States of Micronesia. It is the only ancient city ever built atop a coral reef.]]></dcterms:description>
    <dcterms:dateSubmitted><![CDATA[05/06/2023 09:25:12 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[sc428]]></dcterms:contributor>
    <dcterms:license><![CDATA[In Copyright (InC)]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/1644">
    <dcterms:title><![CDATA[Nan Madol]]></dcterms:title>
    <dcterms:subject><![CDATA[Culture,Immovable Culture Heritage,Tourism]]></dcterms:subject>
    <dcterms:description><![CDATA[Nan Madol is a prehistoric site on the south-eastern coast of the island of Pohnpei in the Federated States of Micronesia in the Pacific Ocean. It is a national park of the Federated States of Micronesia. It is often referred to as the 'Venice of the Pacific' because it consists of a series of small artificial islands and canals. "Nan Madol" means "within the intervals" in the local language, and the city was the capital of the Saudelaar dynasty until 1500.

Nan Madu is a mysterious and magical place that includes many buildings and artificial islands built from thousands of huge stones, some weighing up to 50 tons, dating back to the 8th to 16th centuries AD. Once the centre of Micronesia, the city's unique architecture and advanced building techniques have attracted many people to see and learn.

In July 2016, South Madure was recognised as a UNESCO World Heritage Site in danger at the 40th World Heritage Committee in Istanbul, Turkey.]]></dcterms:description>
    <dcterms:source><![CDATA[is51102023]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[06/05/2023]]></dcterms:dateSubmitted>
    <dcterms:><![CDATA[05/09/2023 12:55:53 pm]]></dcterms:>
    <dcterms:contributor><![CDATA[sc428]]></dcterms:contributor>
    <dcterms:references><![CDATA[https://whc.unesco.org/en/list/1503/]]></dcterms:references>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:medium><![CDATA[https://whc.unesco.org/en/list/1503/]]></dcterms:medium>
    <dcterms:type><![CDATA[Site]]></dcterms:type>
    <dcterms:identifier><![CDATA[762]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,6,158;]]></dcterms:spatial>
    <dcterms:provenance><![CDATA[Nahnmwarki Madolenihmw]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/3597">
    <dcterms:title><![CDATA[Narasimha Statue, Hampi]]></dcterms:title>
    <dcterms:subject><![CDATA[Immovable Culture Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[Yoga-Narasimha monolith carved in-situ at the Krishna Temple, Hampi, Karnataka, India]]></dcterms:description>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:date><![CDATA[2017:08:26 13:09:57]]></dcterms:date>
    <dcterms:contributor><![CDATA[Ravish Kumar]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:medium><![CDATA[Wikipedia]]></dcterms:medium>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,15.3291,76.4589;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/54">
    <dcterms:title><![CDATA[National Heritage Lottery Fund]]></dcterms:title>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[54]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,53.4860932,-2.2398633;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/39">
    <dcterms:title><![CDATA[National Museum of Jamaica]]></dcterms:title>
    <dcterms:description><![CDATA[The National Museum Jamaica is the national agent for the collection, preservation and documentation of Jamaica’s material culture and aims to stimulate serious research and reflection on Jamaica’s history and contemporary life. As the repository of Jamaica’s National Collection, the National Museum Jamaica houses over 17, 000 historic, ethnographic and archaeological artefacts that are germane to Jamaica’s material culture from the prehistoric era to the contemporary. The work of the museum is focused in three areas: Preservation, Research and Communication through education programmes.]]></dcterms:description>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[39]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,17.966472000000007,-76.78967611163941;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://stage.openvirtualworlds.org/omeka/items/show/10">
    <dcterms:title><![CDATA[National Trust for Scotland]]></dcterms:title>
    <dcterms:description><![CDATA[The National Trust for Scotland is a Scottish conservation organisation. It is the largest membership organisation in Scotland and describes itself as "the charity that cares for, shares and speaks up for Scotland's magnificent heritage".]]></dcterms:description>
    <dcterms:source><![CDATA[collaborations]]></dcterms:source>
    <dcterms:type><![CDATA[Museum]]></dcterms:type>
    <dcterms:identifier><![CDATA[10]]></dcterms:identifier>
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    <dcterms:title><![CDATA[Natural Ingredients for traditional dye]]></dcterms:title>
    <dcterms:subject><![CDATA[Movable Cultural Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[This picture is of the three major ingredients used to create Natural Dye(Blue Indigo). The materials consist of Potassium(left), baba plant(bottom), Firewood ashes(top).  ]]></dcterms:description>
    <dcterms:source><![CDATA[is51102023]]></dcterms:source>
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    <dcterms:contributor><![CDATA[au32]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial License]]></dcterms:license>
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    <dcterms:title><![CDATA[Natural Ingredients for traditional dye]]></dcterms:title>
    <dcterms:subject><![CDATA[Movable Cultural Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[This picture is of the three major ingredients used to create Natural Dye(Blue Indigo). The materials consist of Potassium(left), baba plant(bottom), Firewood ashes(top).  ]]></dcterms:description>
    <dcterms:source><![CDATA[is51102023]]></dcterms:source>
    <dcterms:date><![CDATA[2023:02:28 16:32:21]]></dcterms:date>
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    <dcterms:contributor><![CDATA[au32]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,12.000843205148032,8.526108700184231;]]></dcterms:spatial>
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    <dcterms:title><![CDATA[Natural Ingredients for traditional dye]]></dcterms:title>
    <dcterms:subject><![CDATA[Movable Cultural Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[This picture is of the three major ingredients used to create Natural Dye(Blue Indigo). The materials consist of Potassium(left), baba plant(bottom), Firewood ashes(top).  ]]></dcterms:description>
    <dcterms:source><![CDATA[is51102023]]></dcterms:source>
    <dcterms:date><![CDATA[2023:02:28 16:32:21]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[04/25/2023 08:54:18 pm]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[au32]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial License]]></dcterms:license>
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    <dcterms:title><![CDATA[Nazca Lines Site]]></dcterms:title>
    <dcterms:description><![CDATA[The Nazca Lines, located in the Nazca Desert of southern Peru, are a series of large ancient geoglyphs created by the Nazca civilization between 500 BCE and 500 CE.The Nazca Lines are located in a desert region with an arid climate, characterized by minimal rainfall and significant temperature fluctuations between day and night. Although not directly situated on the coast, the Nazca Lines are still vulnerable to the impacts of climate change, including rising sea levels, which can lead to water erosion, changes in precipitation patterns, and increased humidity. ]]></dcterms:description>
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    <dcterms:contributor><![CDATA[cx24@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
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    <dcterms:title><![CDATA[NEMO]]></dcterms:title>
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    <dcterms:title><![CDATA[Neon signs in Hong Kong]]></dcterms:title>
    <dcterms:subject><![CDATA[Movable Cultural Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[The use of neon signs as an advertising method for shops increased post-war in the 1950s, alongside a boom in incoming migration and setting up of shops and stores. As business owners typically planned for their businesses to be passed on through generations, they were known to ‘invest a lot in getting a sign commissioned’ as it carried a lot of significance and identity. As the economy prospered in the later half of the 20th century, the signs became de rigueur in the urban cityscape – an icon in its own right, and inspiring many cultural references in movies and media. 

After the city’s handover to China in 1997, there have been tightening regulations on ‘unauthorized’ neon signs and enhanced safety regulations, with removal orders issued spiking in 2017-2021. As paperwork to appeal for authorization of the signs is complicated and upkeep of the signs get more expensive, more shopkeepers have elected to remove the signs in favor of switching to cheaper LED alternatives. ]]></dcterms:description>
    <dcterms:creator><![CDATA[gnlw]]></dcterms:creator>
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    <dcterms:title><![CDATA[Neon signs in Hong Kong]]></dcterms:title>
    <dcterms:subject><![CDATA[Movable Cultural Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[Neon Signs in Hong Kong - an increasingly lost part of history]]></dcterms:description>
    <dcterms:source><![CDATA[is51102025]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[24/02/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[gnlw1]]></dcterms:contributor>
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    <dcterms:title><![CDATA[Neon signs in Hong Kong]]></dcterms:title>
    <dcterms:subject><![CDATA[Movable Cultural Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[Neon Signs in Hong Kong - an increasingly lost part of history]]></dcterms:description>
    <dcterms:creator><![CDATA[gnlw]]></dcterms:creator>
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    <dcterms:title><![CDATA[Neon Signs in Hong Kong]]></dcterms:title>
    <dcterms:subject><![CDATA[Intangible Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[The linked media shows a 2007 street view of Hong Kong at night along Portland street, with a plethora of signs: some LED, some neon. 

Neon signs enjoyed its heyday in Hong Kong during the later part of the 20th century, with most businesses using as a form of identity and advertisement. Estimates put an average of 120,000 signs at the end of 2010.  After 2010, due to tightening government regulations ordering removal of signs that did not "meet government regulations", their numbers have plummeted to less than 400. 

After the city’s handover to China in 1997, there have been tightening regulations on ‘unauthorized’ neon signs and enhanced safety regulations, with removal orders issued spiking in 2017-2021. As paperwork to appeal for authorization of the signs is complicated and upkeep of the signs get more expensive, more shopkeepers have elected to remove the signs in favor of switching to cheaper LED alternatives. ]]></dcterms:description>
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    <dcterms:title><![CDATA[Neon Signs in Hong Kong]]></dcterms:title>
    <dcterms:subject><![CDATA[Intangible Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[A 2007 street view of Hong Kong at night along Portland street shows a plethora of signs: some LED, some neon. 

Neon signs enjoyed its heyday in Hong Kong during the later part of the 20th century, with most businesses using as a form of identity and advertisement. Estimates put an average of 120,000 signs at the end of 2010.  After 2010, due to tightening government regulations ordering removal of signs that did not "meet government regulations", their numbers have plummeted to less than 400. ]]></dcterms:description>
    <dcterms:creator><![CDATA[gnlw]]></dcterms:creator>
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    <dcterms:contributor><![CDATA[gnlw1]]></dcterms:contributor>
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    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
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    <dcterms:title><![CDATA[Neon Signs in Hong Kong]]></dcterms:title>
    <dcterms:subject><![CDATA[Intangible Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[A 2007 street view of Hong Kong at night along Portland street shows a plethora of signs: some LED, some neon. 

Neon signs enjoyed its heyday in Hong Kong during the later part of the 20th century, with most businesses using as a form of identity and advertisement. Estimates put an average of 120,000 signs at the end of 2010.  After 2010, due to tightening government regulations ordering removal of signs that did not "meet government regulations", their numbers have plummeted to less than 400. ]]></dcterms:description>
    <dcterms:creator><![CDATA[gnlw]]></dcterms:creator>
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    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
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    <dcterms:title><![CDATA[Neon Signs in Hong Kong]]></dcterms:title>
    <dcterms:subject><![CDATA[Intangible Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[A 2007 street view of Hong Kong at night along Portland street shows a plethora of signs: some LED, some neon. 

Neon signs enjoyed its heyday in Hong Kong during the later part of the 20th century, with most businesses using as a form of identity and advertisement. Estimates put an average of 120,000 signs at the end of 2010.  After 2010, due to tightening government regulations ordering removal of signs that did not "meet government regulations", their numbers have plummeted to less than 400. ]]></dcterms:description>
    <dcterms:creator><![CDATA[gnlw]]></dcterms:creator>
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    <dcterms:contributor><![CDATA[gnlw1]]></dcterms:contributor>
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    <dcterms:title><![CDATA[Neon Signs in Hong Kong]]></dcterms:title>
    <dcterms:subject><![CDATA[Intangible Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[A 2007 street view of Hong Kong at night along Portland street shows a plethora of signs: some LED, some neon. 

Neon signs enjoyed its heyday in Hong Kong during the later part of the 20th century, with most businesses using as a form of identity and advertisement. Estimates put an average of 120,000 signs at the end of 2010.  After 2010, due to tightening government regulations ordering removal of signs that did not "meet government regulations", their numbers have plummeted to less than 400. ]]></dcterms:description>
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    <dcterms:title><![CDATA[Neon Signs in Hong Kong]]></dcterms:title>
    <dcterms:subject><![CDATA[Intangible Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[A 2007 street view of Hong Kong at night along Portland street shows a plethora of signs: some LED, some neon. 

Neon signs enjoyed its heyday in Hong Kong during the later part of the 20th century, with most businesses using as a form of identity and advertisement. Estimates put an average of 120,000 signs at the end of 2010.  After 2010, due to tightening government regulations ordering removal of signs that did not "meet government regulations", their numbers have plummeted to less than 400. ]]></dcterms:description>
    <dcterms:creator><![CDATA[gnlw]]></dcterms:creator>
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    <dcterms:contributor><![CDATA[gnlw1]]></dcterms:contributor>
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    <dcterms:title><![CDATA[Neon Signs in Hong Kong]]></dcterms:title>
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    <dcterms:description><![CDATA[A 2007 street view of Hong Kong at night along Portland street shows a plethora of signs: some LED, some neon. 

Neon signs enjoyed its heyday in Hong Kong during the later part of the 20th century, with most businesses using as a form of identity and advertisement. Estimates put an average of 120,000 signs at the end of 2010.  After 2010, due to tightening government regulations ordering removal of signs that did not "meet government regulations", their numbers have plummeted to less than 400. ]]></dcterms:description>
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    <dcterms:title><![CDATA[Neon Signs in Hong Kong]]></dcterms:title>
    <dcterms:subject><![CDATA[Intangible Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[A 2007 street view of Hong Kong at night along Portland street shows a plethora of signs: some LED, some neon. 

Neon signs enjoyed its heyday in Hong Kong during the later part of the 20th century, with most businesses using as a form of identity and advertisement. Estimates put an average of 120,000 signs at the end of 2010.  After 2010, due to tightening government regulations ordering removal of signs that did not "meet government regulations", their numbers have plummeted to less than 400. ]]></dcterms:description>
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    <dcterms:title><![CDATA[Neon Signs in Hong Kong]]></dcterms:title>
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    <dcterms:description><![CDATA[A 2007 street view of Hong Kong at night along Portland street shows a plethora of signs: some LED, some neon. 

Neon signs enjoyed its heyday in Hong Kong during the later part of the 20th century, with most businesses using as a form of identity and advertisement. Estimates put an average of 120,000 signs at the end of 2010.  After 2010, due to tightening government regulations ordering removal of signs that did not "meet government regulations", their numbers have plummeted to less than 400. ]]></dcterms:description>
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