<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6259">
    <dcterms:title><![CDATA[Eye on the Arts]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[Interview with Curator Allison Thompson for the Barbadian programme "Eye on the Arts", which aired on February 9th 2019.]]></dcterms:description>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[video/mp4]]></dcterms:format>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Moving Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.083429,-59.602231;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6239">
    <dcterms:title><![CDATA[Suitcase]]></dcterms:title>
    <dcterms:subject><![CDATA[SOCIAL HISTORY]]></dcterms:subject>
    <dcterms:description><![CDATA[A brown suitcase used for travel by a Barbadian. On one side of the item is a sticker with the acronym B.O.A.C, which stands for British Overseas Airways Corporation. This was the British state-owned airline created in 1939 by the merger of Imperial Airways and British Airways Ltd. It continued operating overseas services throughout World War II. It would eventually merge with the British European Airways (B.E.A) to become in 1971 the British Airways, which has been active to this day.]]></dcterms:description>
    <dcterms:creator><![CDATA[Kristin Watkins]]></dcterms:creator>
    <dcterms:date><![CDATA[6/12/2019]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:extent><![CDATA[37 heightcm x 55.3 widthcm x 17.1 depthcm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.08335845009128,-59.60223061248064;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6238">
    <dcterms:title><![CDATA[Tamina White]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE,PLACES]]></dcterms:subject>
    <dcterms:creator><![CDATA[Tamina White]]></dcterms:creator>
    <dcterms:source><![CDATA[stories,Contributers,barbadosmigration]]></dcterms:source>
    <dcterms:date><![CDATA[2018]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:format><![CDATA[video/mp4]]></dcterms:format>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Moving Image]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6237">
    <dcterms:title><![CDATA[Dylan Collymore]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE,PEOPLE]]></dcterms:subject>
    <dcterms:creator><![CDATA[Dylan Collymore]]></dcterms:creator>
    <dcterms:source><![CDATA[stories,Contributers,barbadosmigration]]></dcterms:source>
    <dcterms:date><![CDATA[2018]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:format><![CDATA[video/mp4]]></dcterms:format>
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    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Moving Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.20113292694427,-59.54677728220224;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6235">
    <dcterms:title><![CDATA[Selena Williamson]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE,PEOPLE]]></dcterms:subject>
    <dcterms:creator><![CDATA[Selena Williamson]]></dcterms:creator>
    <dcterms:source><![CDATA[stories,Contributers,barbadosmigration]]></dcterms:source>
    <dcterms:date><![CDATA[2018]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:format><![CDATA[video/mp4]]></dcterms:format>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Moving Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.179739975321182,-59.53579095407724;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6234">
    <dcterms:title><![CDATA[Romario Cottoy]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE,PEOPLE]]></dcterms:subject>
    <dcterms:creator><![CDATA[Romario Cottoy]]></dcterms:creator>
    <dcterms:source><![CDATA[stories,Contributers,barbadosmigration]]></dcterms:source>
    <dcterms:date><![CDATA[2018]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:format><![CDATA[video/mp4]]></dcterms:format>
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    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Moving Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.158345153028817,-59.53579095407724;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6233">
    <dcterms:title><![CDATA[Richenda Harewood]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE,PEOPLE]]></dcterms:subject>
    <dcterms:creator><![CDATA[Richenda Harewood]]></dcterms:creator>
    <dcterms:source><![CDATA[stories,Contributers,barbadosmigration]]></dcterms:source>
    <dcterms:date><![CDATA[2018]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:format><![CDATA[video/mp4]]></dcterms:format>
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    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Moving Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.16904279783255,-59.52480462595224;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6232">
    <dcterms:title><![CDATA[Rayna Garnes]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE,PEOPLE]]></dcterms:subject>
    <dcterms:creator><![CDATA[Rayna Garnes]]></dcterms:creator>
    <dcterms:source><![CDATA[stories,Contributers,barbadosmigration]]></dcterms:source>
    <dcterms:date><![CDATA[2018]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:format><![CDATA[video/mp4]]></dcterms:format>
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    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Moving Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.131598998830583,-59.52480462595224;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6231">
    <dcterms:title><![CDATA[Malaika Croney]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE,PEOPLE]]></dcterms:subject>
    <dcterms:creator><![CDATA[Malaika Croney]]></dcterms:creator>
    <dcterms:source><![CDATA[stories,Contributers,barbadosmigration]]></dcterms:source>
    <dcterms:date><![CDATA[2018]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:format><![CDATA[video/mp4]]></dcterms:format>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Moving Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.19043668514261,-59.55776361032724;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6230">
    <dcterms:title><![CDATA[Melissa Hunte]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE,PEOPLE]]></dcterms:subject>
    <dcterms:description><![CDATA[Melissa Hunte]]></dcterms:description>
    <dcterms:creator><![CDATA[Melissa Hunte]]></dcterms:creator>
    <dcterms:source><![CDATA[stories,Contributers,barbadosmigration]]></dcterms:source>
    <dcterms:date><![CDATA[2018]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:format><![CDATA[video/mp4]]></dcterms:format>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Moving Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,65.04141697508098,-14.953271422827243;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6229">
    <dcterms:title><![CDATA[Danielle Sanson]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE,PEOPLE]]></dcterms:subject>
    <dcterms:creator><![CDATA[Danielle Sanson]]></dcterms:creator>
    <dcterms:source><![CDATA[stories,barbadosmigration]]></dcterms:source>
    <dcterms:date><![CDATA[2018]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:format><![CDATA[video/mp4]]></dcterms:format>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Moving Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.211828700374,-59.53579095407724;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6228">
    <dcterms:title><![CDATA[Brianna Gibbs]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE,PEOPLE]]></dcterms:subject>
    <dcterms:description><![CDATA[Why is telling the Windrush story important to you?]]></dcterms:description>
    <dcterms:creator><![CDATA[Brianna Gibbs]]></dcterms:creator>
    <dcterms:source><![CDATA[stories,Contributers]]></dcterms:source>
    <dcterms:date><![CDATA[2018]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:format><![CDATA[video/mp4]]></dcterms:format>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Moving Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.126249418254085,-59.53029779001474;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6227">
    <dcterms:title><![CDATA[Barbados Community College]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE,PEOPLE]]></dcterms:subject>
    <dcterms:description><![CDATA[Barbados Community College
2018

Michelle Hinkson-Cox 
Co-ordinator for the Theatre Arts Programme at BCC

Students
Brianna Gibbs
Danielle Sanson
Dylan Collymore
Malaika Croney
Melissa Hunte
Rayna Garnes
Romario Cottoy
Richenda Harewood
Selena Williamson
Tamina White
]]></dcterms:description>
    <dcterms:creator><![CDATA[Barbados Community College]]></dcterms:creator>
    <dcterms:source><![CDATA[Contributers]]></dcterms:source>
    <dcterms:date><![CDATA[2018:11:14 16:34:06]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.190436685142595,-59.55776361032724;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6226">
    <dcterms:title><![CDATA[Barbados Community College Class]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE,PEOPLE]]></dcterms:subject>
    <dcterms:description><![CDATA[Barbados Community College
2018
Michelle Hinkson-Cox 
Co-ordinator for the Theatre Arts Programme at BCC

Students
Brianna Gibbs
Danielle Sanson
Dylan Collymore
Malaika Croney
Melissa Hunte
Rayna Garnes
Romario Cottoy
Richenda Harewood
Selena Williamson
Tamina White
]]></dcterms:description>
    <dcterms:creator><![CDATA[Barbados Community College]]></dcterms:creator>
    <dcterms:source><![CDATA[Contributers]]></dcterms:source>
    <dcterms:date><![CDATA[2018]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg]]></dcterms:format>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Still Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.179739975321207,-59.51381829782724;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6225">
    <dcterms:title><![CDATA[Introduction to the Production of Windrush]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE,PEOPLE]]></dcterms:subject>
    <dcterms:description><![CDATA[Introduction and clips from Windrush.
2018
Barbados Community College
Michelle Hinkson-Cox 
Co-ordinator for the Theatre Arts Programme at BCC

Students
Brianna Gibbs
Danielle Sanson
Dylan Collymore
Malaika Croney
Melissa Hunte
Rayna Garnes
Romario Cottoy
Richenda Harewood
Selena Williamson
Tamina White

Research and written source material  
Kaye Hall 
Barbados Museum & Historical Society
]]></dcterms:description>
    <dcterms:creator><![CDATA[Barbados Community College]]></dcterms:creator>
    <dcterms:source><![CDATA[barbadosmigration]]></dcterms:source>
    <dcterms:date><![CDATA[2018]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:format><![CDATA[video/mp4]]></dcterms:format>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Moving Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.136948462886952,-59.55776361032724;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6224">
    <dcterms:title><![CDATA[Why is Telling the Windrush Story Important to You?]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE,PEOPLE]]></dcterms:subject>
    <dcterms:description><![CDATA[Barbados Community College

Students
Brianna Gibbs
Danielle Sanson
Dylan Collymore
Malaika Croney
Melissa Hunte
Rayna Garnes
Romario Cottoy
Richenda Harewood
Selena Williamson
Tamina White
]]></dcterms:description>
    <dcterms:creator><![CDATA[Barbados Community College]]></dcterms:creator>
    <dcterms:source><![CDATA[barbadosmigration]]></dcterms:source>
    <dcterms:date><![CDATA[2018]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:format><![CDATA[video/mp4]]></dcterms:format>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Moving Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.147647041262742,-59.53029779001474;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6223">
    <dcterms:title><![CDATA[Windrush]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE,PEOPLE]]></dcterms:subject>
    <dcterms:description><![CDATA[Barbados Community College
2018

Michelle Hinkson-Cox 
Co-ordinator for the Theatre Arts Programme at BCC

Students
Brianna Gibbs
Danielle Sanson
Dylan Collymore
Malaika Croney
Melissa Hunte
Rayna Garnes
Romario Cottoy
Richenda Harewood
Selena Williamson
Tamina White

Research and written source material  
Kaye Hall 
Barbados Museum & Historical Society
]]></dcterms:description>
    <dcterms:creator><![CDATA[Barbados Community college]]></dcterms:creator>
    <dcterms:source><![CDATA[migration,barbadosmigration]]></dcterms:source>
    <dcterms:date><![CDATA[2018]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:format><![CDATA[video/mp4]]></dcterms:format>
    <dcterms:extent><![CDATA[cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Moving Image]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.15032161296266,-59.55227044626474;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6222">
    <dcterms:title><![CDATA[Artillery Shell 2]]></dcterms:title>
    <dcterms:subject><![CDATA[SOCIAL HISTORY]]></dcterms:subject>
    <dcterms:description><![CDATA[WW1 decorated artillery shell]]></dcterms:description>
    <dcterms:date><![CDATA[1914-18]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:extent><![CDATA[3.5" x 3.5" x 10"]]></dcterms:extent>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[2c57e1dd4542442eba96a0d0e88fceac]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,13.084451813895425,-59.60205224558115;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6221">
    <dcterms:title><![CDATA[Artillery Shell]]></dcterms:title>
    <dcterms:subject><![CDATA[SOCIAL HISTORY]]></dcterms:subject>
    <dcterms:description><![CDATA[WW1 decorated artillery shell]]></dcterms:description>
    <dcterms:date><![CDATA[1914-18]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:extent><![CDATA[3.5" x 3.5" x 9"]]></dcterms:extent>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.1939,-59.54320000000007;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6220">
    <dcterms:title><![CDATA[Barbados Bullfinch/Sparrow]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE,NATURAL HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[The Barbados bullfinch is a small bird, 14–15 cm (5.5–6 in). The upperparts are a dark olive-grey, the wings are mostly brown, underparts are greyish, while the under tail-coverts are tawny. The species is not sexually dimorphic, with females and males having similar plumage. The birds' calls include simple twittering, an occasional harsh petulant note, and a sharp trill]]></dcterms:description>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.083765,-59.60136299999999;origin,NaN,;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6213">
    <dcterms:title><![CDATA[Police Badge]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[The main Police Force of Barbados was established in 1835. The Royal Barbados Police Force (RBPF), as established under the Police Act, of 1961, and the Constitution of Barbados is a part of the government responsible for local law enforcement. The RBPF is divided into three territorial divisions, the Operations Support Division, the Administrative Support Division and the Criminal Investigations Division. The organisation structure of the RBPF is modeled after London’s Metropolitan Police Service. The prefix “Royal” was added to the title of the Police Force in February 1966 due to a visit by the Queen. Since that time, “Royal” has remained as part of the name and identity of the force.]]></dcterms:description>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:extent><![CDATA[height: 1cm x length: 10.5cm x width: 8cm]]></dcterms:extent>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.083374,-59.602236;origin,13.047200836637554,;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6212">
    <dcterms:title><![CDATA[Amerindian Shell]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE,ARCHAEOLOGY AND BUILT HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[A shell found by Peter L Drewett that might have been a tool used to consume food with by the Amerindian community.]]></dcterms:description>
    <dcterms:creator><![CDATA[Amerindian Community]]></dcterms:creator>
    <dcterms:date><![CDATA[Prehistoric Barbados]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[text/plain Alias/WaveFront Object]]></dcterms:format>
    <dcterms:extent><![CDATA[14.8cm x 7.7cm x 3.5cm]]></dcterms:extent>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.083267,-59.602072;origin,13.047200836637554,;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6211">
    <dcterms:title><![CDATA[Militia Badge]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE,SOCIAL HISTORY]]></dcterms:subject>
    <dcterms:description><![CDATA[The Barbados Militia was raised in 1640 “for the defence and protection of Barbados.” and is probably one of the oldest in the British commonwealth, serving until British troops arrived in 1780. The main objective of the militias formation (as well as the strength and state of the island's fortifications) derived from a concern over external attack by foreign forces, particularly the French. The suppression of slave revolts was also a great concern of the planter class and, in the earlier periods, revolts by white indentured servants, notably the Irish.]]></dcterms:description>
    <dcterms:creator><![CDATA[Barbados Milita]]></dcterms:creator>
    <dcterms:date><![CDATA[1800]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:extent><![CDATA[height: 0.5 cm x length: 7 cm x width: 5cm]]></dcterms:extent>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.08403380202188,-59.602395568335055;origin,NaN,;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6209">
    <dcterms:title><![CDATA[Calabash bowl]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE,ARCHAEOLOGY AND BUILT HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[Calabash bowl made from the fruit of the crescentia cujete tree and was used by the amerindian community.]]></dcterms:description>
    <dcterms:creator><![CDATA[Amerindian Community]]></dcterms:creator>
    <dcterms:date><![CDATA[Unknown]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[text/plain Alias/WaveFront Object]]></dcterms:format>
    <dcterms:extent><![CDATA[19cm x 17cm x 9cm]]></dcterms:extent>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.083267,-59.602072;origin,13.083267,;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/6205">
    <dcterms:title><![CDATA[Peregrine Falcon]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE,NATURAL HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[The peregrine falcon (Falco peregrinus), also known as the peregrine,[2] and historically as the duck hawk in North America, is a widespread bird of prey (raptor) in the family Falconidae. A large, crow-sized falcon, it has a blue-grey back, barred white underparts, and a black head. The peregrine is renowned for its speed, reaching over 320 km/h (200 mph) during its characteristic hunting stoop (high-speed dive),making it the fastest bird in the world and the fastest member of the animal kingdom. According to a National Geographic TV program, the highest measured speed of a peregrine falcon is 389 km/h (242 mph). As is typical of bird-eating raptors, peregrine falcons are sexually dimorphic, with females being considerably larger than males.]]></dcterms:description>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:extent><![CDATA[37.500cm x cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.083685,-59.60148;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/481">
    <dcterms:title><![CDATA[Tuk Band Penny Whistle]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[The pennywhistle or tin whistle is a musical instrument of the woodwind family. The modern pennywhistle originates in the British Isles, particularly England and Ireland. It is used in all manner of musical genre from Celtic to Jazz music. The pennywhistle found its way to Barbados through British colonialism and is featured prominently in the Barbados Landship and Tuk Band.]]></dcterms:description>
    <dcterms:creator><![CDATA[Kristin Watkins]]></dcterms:creator>
    <dcterms:date><![CDATA[20th century]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Public Domain (no conditions)]]></dcterms:license>
    <dcterms:format><![CDATA[text/plain Alias/WaveFront Object]]></dcterms:format>
    <dcterms:extent><![CDATA[32cm x 1.6cm x 1.7cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.0833626,-59.6023586;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/479">
    <dcterms:title><![CDATA[Amerindian Cassava Grater]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[The Cassava grater was part of the preparation process for Cassava by Amerindian communities. Jerome Handler, in his article “Aspects of Amerindian Ethnography in 17th Century Barbados” stated that: “ in processing the cassava, traditional Amerindian techniques generally involved first the scraping off of the skin and then the grating of the root with a grater made of thorny branches, coral, or wood and stone splinters set in a board. In squeezing the juice out of the grated cassava, a cylindrical basketry strainer or press (commonly known as a matapi or tipiti in the ethnographic literature) was employed.” (63)

This particular grater also has a motif of a lizard. Animals such as lizards, frogs or turtles were frequent in Taíno art.

Source: “Aspects of Amerindian Ethnography in 17th Century Barbados”. Author: Jerome S. Handler. Caribbean Studies, Vol. 9, No. 4 (Jan., 1970), pp. 50-72.

Digitized by Toni-Q Harris during the 2018 BMHS 3D Photogrammetry Summer Intensive
]]></dcterms:description>
    <dcterms:format><![CDATA[text/plain Alias/WaveFront Object]]></dcterms:format>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.084317,-59.600278;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/478">
    <dcterms:title><![CDATA[Stone Scraper]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[Scrapers made from a variety of materials were popular tools for Amerindian communities. Scrapers are typically formed by chipping the end of a flake of stone in order to create one sharp side and to keep the rest of the sides dull to facilitate grasping it. Most scrapers are either circle or blade-like in shape. The working edges of scrapers tend to be convex, and many have trimmed and dulled lateral edges to facilitate hafting. 

In Barbados, as the island is made of limestone and not volcanic rock, scrapers were usually made of conch shell. So it is likely that this stone scraper originated from another Caribbean country. 

Digitized by Toni-Q Harris during the 2018 BMHS 3D Photogrammetry Summer Intensive
]]></dcterms:description>
    <dcterms:format><![CDATA[text/plain Alias/WaveFront Object]]></dcterms:format>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.0833626,-59.6023586;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/477">
    <dcterms:title><![CDATA[Barbados Penny Whistle]]></dcterms:title>
    <dcterms:publisher><![CDATA[EULAC]]></dcterms:publisher>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[image/jpeg JPEG Image]]></dcterms:format>
    <dcterms:type><![CDATA[Photogrammetry]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.0833626,-59.6023586]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/476">
    <dcterms:title><![CDATA[Taíno Zemi]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[This small figurine is a Taíno Zemi. A Pre-Columbian artefact from the Taíno people who inhabited the Caribbean centuries before the arrival of the Europeans around 1492. They were wiped out by European colonialism. This figurine was an important aspect of their culture, representing their religious beliefs. The zemis were modelled after Taíno deities and the Taíno would communicate with them through the inhalation of a hallucinogenic substance called cohoba, which they placed on top of the figurine's small bowl above its head. This figurine is a replica. The original zemi was excavated in Jamaica, and now resides in the British Museum, though not on display.]]></dcterms:description>
    <dcterms:creator><![CDATA[Kristin Watkins]]></dcterms:creator>
    <dcterms:date><![CDATA[Pre-Columbian]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Public Domain (no conditions)]]></dcterms:license>
    <dcterms:format><![CDATA[text/plain Alias/WaveFront Object]]></dcterms:format>
    <dcterms:extent><![CDATA[43cm x 15.6cm x 16cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.0833626,-59.6023586;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/475">
    <dcterms:title><![CDATA[Iron ball]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[The iron ball was part of punishment for enslaved people in Barbados. The ball would be fastened to a short chain that was shackled to an enslaved person’s legs. The enslaved person would have to continue labour whilst shackled to the ball, which could weigh from 8 – 10 lbs.

Digitized by Toni-Q Harris during the 2018 BMHS 3D Photogrammetry Summer Intensive 

]]></dcterms:description>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[text/plain Alias/WaveFront Object]]></dcterms:format>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.0833626,-59.6023586;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/474">
    <dcterms:title><![CDATA[Barbaos Iron Ball]]></dcterms:title>
    <dcterms:type><![CDATA[Photogrammetry]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/473">
    <dcterms:title><![CDATA[Barbados Iron 2]]></dcterms:title>
    <dcterms:type><![CDATA[Photogrammetry]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/472">
    <dcterms:title><![CDATA[Tailor's goose iron]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[The tailor's goose iron was a long and thin iron, compared to its household counterpart, with handles that resemble that of a goose's neck. It was traditionally used by tailors for smoothing fabric and pressing seams. There were usually multiple irons in rotation: one in use and at least one other being heated over coals or stove. Early flat irons needed to be gripped with some sort of rag to avoid burns to the user's hand. Later designs incorporated methods of having cooler handles for example: a wooden handle.]]></dcterms:description>
    <dcterms:format><![CDATA[text/plain Alias/WaveFront Object]]></dcterms:format>
    <dcterms:extent><![CDATA[15cm x 22.7cm x 7.5cm]]></dcterms:extent>
    <dcterms:language><![CDATA[Barbados]]></dcterms:language>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.0833626,-59.6023586;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/333">
    <dcterms:title><![CDATA[Gibbs Face]]></dcterms:title>
    <dcterms:description><![CDATA[This Amerindian artefact is most recognisable as a face that adorned the Barbados Museum and Historical Society’s logo]]></dcterms:description>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/248">
    <dcterms:title><![CDATA[Monkey Jar]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[The monkey jar is a pottery jug used for holding drinking water and keeping it cool. This is because clay is a poor conductor of heat and since the jar is unglazed, water is able to evaporate from its surface to cool the jar. It is known for keeping the water cool. The Monkey jar shows similarity with similar vessels from Africa in its shape and function, giving evidence to support that the design and skill of making this vessel was passed down from enslaved people.]]></dcterms:description>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[text/plain Alias/WaveFront Object]]></dcterms:format>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.084317,-59.600278;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/246">
    <dcterms:title><![CDATA[Wooden Dan Mask]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[The Dan live mostly in the western part of the Côte d’Ivoire and into Liberia. All Dan masks are sacred; they do not represent spirits of the wilderness, they are these spirits. Dan masks are characterized by a concave face, a protruding mouth, high-domed forehead and are often covered in a rich brown patina. There are a variety of Dan face masks, each of which has a different function. They may be the intermediaries, who acts between the village and the forest initiation camp, may act against bush fires during the dry season, used in pre-war ceremonies, for peace-making ceremonies, for entertainment. Over time, many among them have lost their original function and have been recycled into contexts related to entertainment, emerging only for festivals or events organized for visitors. Sources: Zyama Tribal African Art]]></dcterms:description>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[text/plain Alias/WaveFront Object]]></dcterms:format>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.084317,-59.600278;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/245">
    <dcterms:title><![CDATA[Heddle pulley with carved head]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[It was common for men to do weaving in West African countries. By means of heddle pulleys the weavers separate the warp threads into ‘fans’ by means of foot pedals. Then the weft threads are ‘shot through’ these ‘fans’. Thus, fabric is created. These heddle pulleys were often carved, and with this one, a face can be made out on one of the sides. Often the faces were of goddesses, so the weavers could look at beauty while they work. Baule peoples and their neighbors to the West, the Guro, are famous as weavers, and are known for their fine indigo-and-white cotton fabrics. Scholars have suggested that the prominent display of pulleys, hanging over the weaver’s loom in the public place, afforded artists their best opportunity to showcase their carving skills, in the hope to attract commissions for figures and masks. This figurative pulley with carved a head demonstrates the efforts put by Baule and Guro artists into beautifying the simplest functional object. Sources: Smithsonian National Museum of African Art]]></dcterms:description>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.084317, -59.600278;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/241">
    <dcterms:title><![CDATA[Shell Man]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[This anthropomorphic figurine possibly depicts a carving of a bound ‘prisoner’. The artifact is made of conch shell and was discovered at Fresh Water Bay in St. Michael on the island’s West Coast.]]></dcterms:description>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[text/plain Alias/WaveFront Object]]></dcterms:format>
    <dcterms:extent><![CDATA[4.6cm x cm x cm]]></dcterms:extent>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.083374,-59.602236;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/240">
    <dcterms:title><![CDATA[Whale Vertebrae plate]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[Humpback Whale vertebral plate. The shore whaling in Barbados started in 1867, primarily hunting humpback whales, which were known to frequent Barbados’ waters in the early part of each year as they migrate from the colder Northern waters of the Atlantic to warmer, Southern climates to mate and calve. The vertebral plate here is from a humpback whale captured in the early 1900s.]]></dcterms:description>
    <dcterms:date><![CDATA[1912]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[text/plain Alias/WaveFront Object]]></dcterms:format>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.084317,-59.600278;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/224">
    <dcterms:title><![CDATA[Bell]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[This is a typical school bell, and is in the collection of the Barbados Museum &amp; Historical Society as one of the visual indicators of the history of education on the island. The foundations of education in Barbados were laid by the philanthropic efforts of private individuals and by the humanitarian interest of the Churches. Most of the existing older public secondary schools were founded by endowments originally intended for the education of white children, during colonization and the period of enslavement. The elementary schools grew out of the modest attempts by the Anglican, Moravian and Methodist Churches to give a Christian education to the enslaved in the period preceding emancipation. These efforts were intensified in the postemancipation period, that is, after 1834, and the setting up of small schools near the church became a common feature of the work of the church in those days. Although the legislature gradually took into its own hands the financing and administration of education, there has remained a close association with the Anglican, Moravian and Methodist Churches as far as education is concerned. The present system developed largely from the 1890 Education Act, which established rigid distinctions between and even within levels of education. In 1932, the Marriot-Mayhew Commission carried out a comprehensive investigation of the Barbados’ educational service. It recommended additional educational programs to cater to specific groups, especially teachers, and to the wider community. As a result, a new Teachers' Training College was opened, new secondary schools were established, and a loan fund was created to assist individuals in obtaining higher education abroad. Technical and vocational training was also introduced. A new Education Act emerged in 1981 that sought to provide greater equality of opportunity. Once universal access to basic education was achieved, the country turned its attention toward reform of the education system to stay current with economic and technological change. The Planning Section of the Ministry of Education, Youth Affairs and Culture compiled a White Paper on Education Reform for Barbados in 1995. Sources: 1. “Historical Developments of Education in Barbados 1686”, Ministry of Education, Barbados. 2. “Barbados: Educational System Overview”, https://education.stateuniversity.com/pages/130/Barbados-EDUCATIONAL-SYSTEM-OVERVIEW.html]]></dcterms:description>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[text/plain Alias/WaveFront Object]]></dcterms:format>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.083543092879083,-59.602227680969236;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/223">
    <dcterms:title><![CDATA["Margaret's Head" by Karl Broodhagen terracotta bust]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[Karl Broodhagen (1909-2002) Margaret’s Head 1955 Terracotta bust Karl Broodhagen (1909–2002) was a Guyanese-Barbadian artist, working mostly in sculpture and paint. Originally arriving to the island to become a tailor’s apprentice, he was awarded a British Council scholarship in 1952 and migrated to London during the Windrush era to study at Goldsmith’s College in London. His experience there exposed him not only to European art, but to non-European cultures, particularly African Art. He returned to Barbados after his studies. He is known for the creation of public statues in Barbados: The Emancipation Statue (officially titled “Slave in Revolt”) on the J.T.C Ramsay roundabout, of Grantley Adams at the Prime Minister offices, and of Garfield Sobers, at Kensington Oval. In addition to these public works, Broodhagen created many portrait busts, citing an interest in the people of Barbados and a desire to decolonize Eurocentric beauty standards. This bust is an example of his fascination with the female figure, not only in physical forms but in the expressions of inner qualities of strength, reflective of so many Caribbean women. He once shared his aims with art critic Derek Bickerton, that he wished “to replace the European standards of beauty still slavishly accepted in the West Indies by standards based on the local inhabitants themselves.” As art writer and artist Chris Cozier states: “Busts like those of social worker and philanthropist John Beckles or Dame Nita Barrow….were clearly about the power of the individual voice and the individual presence in the social space.” His works have toured internationally and are included in UNESCO’s collections, and he was awarded the Gold Crown Merit in 1982. Broodhagen was also a passionate arts educator. In 1947 he established the art department at Combemere School, and on his return from the UK worked as a teacher there until 1996. Source: Art in Barbados: What Kind of Mirror Image? Authors: Alissandra Cummins, Allison Thompson, Nick Whittle. Published 1999.]]></dcterms:description>
    <dcterms:creator><![CDATA[Karl Broodhagen]]></dcterms:creator>
    <dcterms:date><![CDATA[1955]]></dcterms:date>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[text/plain Alias/WaveFront Object]]></dcterms:format>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.084317,-59.600278;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/222">
    <dcterms:title><![CDATA[Toothkey / Turnkey]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[A Dentist tool from the 1800s, used to extract teeth. The claw would be fixed between the tooth and gum, and ideally then it would take one turn to remove the tooth.]]></dcterms:description>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[text/plain Alias/WaveFront Object]]></dcterms:format>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.084317, -59.600278;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/171">
    <dcterms:title><![CDATA[Osprey]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE,NATURAL HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[Barbados has long been an important stop over site for migrating birds on their southbound migration to South America where they pass the non-breeding (southern summer) season. Ospreys are migratory birds that eat fish. The Osprey (Pandion haliaetus) seen here, is almost as old as the Barbados Museum itself, entering the collection in 1935.]]></dcterms:description>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[text/plain Alias/WaveFront Object]]></dcterms:format>
    <dcterms:language><![CDATA[1935]]></dcterms:language>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.083374,-59.602236;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/159">
    <dcterms:title><![CDATA[West African heddle pulley]]></dcterms:title>
    <dcterms:subject><![CDATA[CULTURAL HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[It was common for men to do weaving in West African countries. By means of heddle pulleys the weavers separate the warp threads into ‘fans’ by means of foot pedals. Then the weft threads are ‘shot through’ these ‘fans’. Thus, fabric is created. These heddle pulleys were often carved, and with this one, a face can be made out on one of the sides. Often the faces were of goddesses, so the weavers could look at beauty while they work. Sources: Smithsonian National Museum of African Art]]></dcterms:description>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[text/plain Alias/WaveFront Object]]></dcterms:format>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.083374,-59.602236;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://eu-lac.org/omeka/items/show/13">
    <dcterms:title><![CDATA[Giant South American Snail shell]]></dcterms:title>
    <dcterms:subject><![CDATA[NATURAL HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[The Giant Land Snail, Megalobulimus oblongus. A species of air-breathing land snail, a terrestrial pulmonate gastropod mollusk in the family Strophocheilidae. Native to a large part of the neotropical world including Argentina, Brazil, Columbia and Uruguay. They have spread however to various parts of the Caribbean including Jamaica, Martinique, Barbados and the Lesser Antilles and can live up to 14 years. Part of the collection of the Barbados Museum and Historical Society. The Barbados Museum and Historical Society (BMHS) is a non-profit, non-governmental organization with a membership of over 1,000 individuals and companies. The Barbados Museum and Historical Society is housed in historic buildings which were originally used as the military prison at St. Ann’s Garrison.]]></dcterms:description>
    <dcterms:license><![CDATA[Creative Commons Attribution-NonCommercial-ShareAlike License]]></dcterms:license>
    <dcterms:format><![CDATA[text/plain Alias/WaveFront Object]]></dcterms:format>
    <dcterms:extent><![CDATA[8.5cm x cm x cm]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[3D Object]]></dcterms:type>
    <dcterms:spatial><![CDATA[current,13.083374,-59.602236;]]></dcterms:spatial>
</rdf:Description></rdf:RDF>