<head id="NEST_Berno.h1">Bereiste bunader</head> <head id="NEST_Ber_136en.h1">Widely traveled national costumes</head>

<s id="NEST_Berno.s1">En ung jente går til kirke et sted på Vestlandet en søndag på begynnelsen av 1800-tallet.</s> <s id="NEST_Ber_136en.s1">One Sunday at the beginning of the 17th century a young girl goes to church somewhere in western Norway.</s>

<s id="NEST_Berno.s2">Skodda har satt seg fast mellom fjelltoppene, men stenges ute av ei trøye hun bærer over søndagsklærne.</s> <s id="NEST_Ber_136en.s2">The mist is caught between the mountain tops, but is kept out by a knitted jacket which she wears over her Sunday clothes.</s>

<s id="NEST_Berno.s3">Klærne har hun arvet hjemme, sydd om av eldre plagg i det snittet som passer kroppen hennes og tiden.</s> <s id="NEST_Ber_136en.s3">The clothes are hand-me-downs from her family, old garments altered into a cut which suits her body and the period of time.</s>

<s id="NEST_Berno.s4">Historien om de norske folkedraktene er også historien om den industrielle revolusjon i England og krydderhandel med det fjerne Østen.</s> <s id="NEST_Ber_136en.s4">The history of the Norwegian national costumes, or the “bunad” as it is called in Norway, is also the history of the Industrial Revolution in England and spice trade with the Far East.</s>

<s id="NEST_Berno.s5">For tekstilene hun bærer er ikke bare fra Norge.</s> <s id="NEST_Ber_136en.s5">One can say so since the fabrics she is wearing do not only originate from Norway.</s>

<s id="NEST_Berno.s6">Livet i ulldamask er vevd i England.</s> <s id="NEST_Ber_136en.s6">Her waist in wool damask is weaved in England.</s>

<s id="NEST_Berno.s7">Silketørklene er fra Frankrike og Østerrike.</s> <s id="NEST_Ber_136en.s7">The kerchiefs of silk are from France and Austria.</s>

<s id="NEST_Berno.s8">Kanskje bærer hun, om dette er dagen hun skal giftes, silkesnorer fra Kina eller brudeliv farget med fargestoffer fra India.</s> <s id="NEST_Ber_136en.s8">If this was her wedding day she might be wearing strings of silk from China or a bridal waist colored with dye from India.</s>

<s id="NEST_Berno.s9">I dag rekonstrueres de norske folkedraktene, da som nå best egnet til festbruk.</s> <s id="NEST_Ber_136en.s9">Today the Norwegian national costumes are reconstructed but they still are best suited for dressy occasions.</s>

<s id="NEST_Berno.s10">– Med Hulda Garborg skulle alt ved draktene helst være som hjemmevevd, av norsk ull fra norske sauer.</s> <s id="NEST_Ber_136en.s10">Hulda Garborg was a Norwegian woman who lived during the 17th century and is amongst many things remembered for her commitment to the Norwegian national costumes.</s> <s id="NEST_Ber_136en.s11">The curator at the Norwegian Folk Museum, Kari-Anne Pedersen can tell us that “Hulda Garborg preferred that everything about the costumes was home woven, with Norwegian wool from Norwegian sheep.”</s>

<s id="NEST_Berno.s11">Dette var en del av norskdomsrørsla.</s> <s id="NEST_Ber_136en.s12">This reflects Garborg’s positive attitude towards Norwegian traditions along with her devotion to a national movement during the 17th century, which disliked the influence other countries had on Norway and its culture.</s>

<s id="NEST_Berno.s12">Bunadbruk var en motkulturell bevegelse, forteller konservator ved Norsk Folkemuseum, Kari-Anne Pedersen.</s> <s id="NEST_Ber_136en.s13">“The use of the national costume was a countercultural movement”, says Pedersen.</s>

<s id="NEST_Berno.s13">Vadmel og ull</s> <s id="NEST_Ber_136en.s14">Frieze and wool</s>

<s id="NEST_Berno.s14">Hun viser til at de mange bunadene som ble komponert på begynnelsen av 1900-tallet var et ledd i en ideologikamp, det handlet om å gjenskape det opprinnelige «norske», ikke nødvendigvis rekonstruere de historiske plaggene som var i bruk rundt om i landet.</s> <s id="NEST_Ber_136en.s15">Kari-Anne Pedersen refers to the many national costumes that were designed as a part of an ideology battle at the beginning of the 18th century.</s> <s id="NEST_Ber_136en.s16">The main goal was to recreate what was truly Norwegian and not necessarily reconstruct the historical garments that were used throughout the country.</s>

<s id="NEST_Berno.s15">Hulda Garborg (1862-1934), som ofte kalles den norske bunadens mor, presenterte sine første drakter i 1903, basert på plagg fra Gol i Hallingdal.</s> <s id="NEST_Ber_136en.s17">Hulda Garborg (1862-1934) who often is called the “mother of the bunad”, presented her first national costumes in 1903.</s> <s id="NEST_Ber_136en.s18">They were based on garments from a small place called Gol in Hallingdal.</s>

<s id="NEST_Berno.s16">Da fantes det allerede i bruk en festdrakt med perlebroderier basert på Hardangerbunaden.</s> <s id="NEST_Ber_136en.s19">At that time a national costume used for formal use already existed, with purl embroidering based on the bunad from Hardanger.</s>

<s id="NEST_Berno.s17">Garborgs ideal var broderi med lokal forankring, mønstre ble funnet på gamle draktdeler, tøfler, kister og hestedekke.</s> <s id="NEST_Ber_136en.s20">Garborg’s ideal of a national costume was embroidering with local roots, patterns from both old national costumes, indoor shoes, chests and horse coats.</s>

<s id="NEST_Berno.s18">Det var vadmel, det var ull og det var ulltråd.</s> <s id="NEST_Ber_136en.s21">They should be based of frieze, wool and woolen threads.</s>

<s id="NEST_Berno.s19">– De valgte å bruke ull og stoffer som passet inn i ideologien, de produserte stoffer som de trodde liknet, men som ikke liknet i det hele tatt.</s> <s id="NEST_Ber_136en.s22">“They chose to use wool and fabrics which matched their ideology, and produced something they thought resembled, but that was far from the same.</s>

<s id="NEST_Berno.s20">Det er først fra 1970-tallet at man begynner å lage drakter basert på historisk kildemateriale, forteller Pedersen.</s> <s id="NEST_Ber_136en.s23">It was not before the 1970’s that Norwegians started to create national costumes based on historical sources”, Pedersen says.</s>

<s id="NEST_Berno.s21">Som konservator ved Norges største draktsamling har Pedersen et godt utgangspunkt for å rekonstruere gammel drakthistorie.</s> <s id="NEST_Ber_136en.s24">As a curator at Norway’s largest collection of national costumes Pedersen has a good starting point for reconstructing old costumes.</s>

<s id="NEST_Berno.s22">Rekonstruerte gamle drakter blir stadig mer populære som bunader her i landet, og skiller seg fra mange av de komponerte bunadene fra tidlig på 1900-tallet ved å ha større variasjon i materialer og snitt.</s> <s id="NEST_Ber_136en.s25">These are continuously becoming more popular and many Norwegians wish to use them as national costumes.</s> <s id="NEST_Ber_136en.s26">This can be explained by the fact that the costumes stand out from many of the designs from the early 18th century and have a larger variation in both materials and cuts.</s>

<s id="NEST_Berno.s23">Selv har Kari-Anne Pedersen rekonstruert de tradisjonelle beltestakkene fra Telemark og kan fortelle om store variasjoner i tekstilbruk, selv om snitt og plagg har lokalt preg.</s> <s id="NEST_Ber_136en.s27">Kari-Anne Pedersen herself has reconstructed the traditional “beltestakk” from Telemark, a famous type of national costume which is characteristic for its belt skirt made out of many layers of cloth.</s> <s id="NEST_Ber_136en.s28">Her designs have a great variation in the choice of textiles but all of the costumes have garments and cuts which are characteristic for the local area.</s>

<s id="NEST_Berno.s24">I Folkemuseets samlinger har hun blant annet et liv til en beltestakk, utført i fin gul silke fra Kina.</s> <s id="NEST_Ber_136en.s29">The Folk Museum’s collection includes a waist of a “beltestakk” by Pedersen which is made from high-class yellow silk from China.</s>

<s id="NEST_Berno.s25">Der finnes også plagg med stoffer som ute i Europa på 1700-tallet var forbeholdt adel og kongelige.</s> <s id="NEST_Ber_136en.s30">There are also garments made out of fabrics which during the 16th century Europe were reserved the aristocracy and the royalties.</s>

<head id="NEST_Berno.h1">Bereiste bunader</head>	<head id="NEST_Ber_136en.h1">Widely traveled national costumes</head>
<s id="NEST_Berno.s1">En ung jente går til kirke et sted på Vestlandet en søndag på begynnelsen av 1800-tallet.</s>	<s id="NEST_Ber_136en.s1">One Sunday at the beginning of the 17th century a young girl goes to church somewhere in western Norway.</s>
<s id="NEST_Berno.s2">Skodda har satt seg fast mellom fjelltoppene, men stenges ute av ei trøye hun bærer over søndagsklærne.</s>	<s id="NEST_Ber_136en.s2">The mist is caught between the mountain tops, but is kept out by a knitted jacket which she wears over her Sunday clothes.</s>
<s id="NEST_Berno.s3">Klærne har hun arvet hjemme, sydd om av eldre plagg i det snittet som passer kroppen hennes og tiden.</s>	<s id="NEST_Ber_136en.s3">The clothes are hand-me-downs from her family, old garments altered into a cut which suits her body and the period of time.</s>
<s id="NEST_Berno.s4">Historien om de norske folkedraktene er også historien om den industrielle revolusjon i England og krydderhandel med det fjerne Østen.</s>	<s id="NEST_Ber_136en.s4">The history of the Norwegian national costumes, or the “bunad” as it is called in Norway, is also the history of the Industrial Revolution in England and spice trade with the Far East.</s>
<s id="NEST_Berno.s5">For tekstilene hun bærer er ikke bare fra Norge.</s>	<s id="NEST_Ber_136en.s5">One can say so since the fabrics she is wearing do not only originate from Norway.</s>
<s id="NEST_Berno.s6">Livet i ulldamask er vevd i England.</s>	<s id="NEST_Ber_136en.s6">Her waist in wool damask is weaved in England.</s>
<s id="NEST_Berno.s7">Silketørklene er fra Frankrike og Østerrike.</s>	<s id="NEST_Ber_136en.s7">The kerchiefs of silk are from France and Austria.</s>
<s id="NEST_Berno.s8">Kanskje bærer hun, om dette er dagen hun skal giftes, silkesnorer fra Kina eller brudeliv farget med fargestoffer fra India.</s>	<s id="NEST_Ber_136en.s8">If this was her wedding day she might be wearing strings of silk from China or a bridal waist colored with dye from India.</s>
<s id="NEST_Berno.s9">I dag rekonstrueres de norske folkedraktene, da som nå best egnet til festbruk.</s>	<s id="NEST_Ber_136en.s9">Today the Norwegian national costumes are reconstructed but they still are best suited for dressy occasions.</s>
<s id="NEST_Berno.s10">– Med Hulda Garborg skulle alt ved draktene helst være som hjemmevevd, av norsk ull fra norske sauer.</s>	<s id="NEST_Ber_136en.s10">Hulda Garborg was a Norwegian woman who lived during the 17th century and is amongst many things remembered for her commitment to the Norwegian national costumes.</s> <s id="NEST_Ber_136en.s11">The curator at the Norwegian Folk Museum, Kari-Anne Pedersen can tell us that “Hulda Garborg preferred that everything about the costumes was home woven, with Norwegian wool from Norwegian sheep.”</s>
<s id="NEST_Berno.s11">Dette var en del av norskdomsrørsla.</s>	<s id="NEST_Ber_136en.s12">This reflects Garborg’s positive attitude towards Norwegian traditions along with her devotion to a national movement during the 17th century, which disliked the influence other countries had on Norway and its culture.</s>
<s id="NEST_Berno.s12">Bunadbruk var en motkulturell bevegelse, forteller konservator ved Norsk Folkemuseum, Kari-Anne Pedersen.</s>	<s id="NEST_Ber_136en.s13">“The use of the national costume was a countercultural movement”, says Pedersen.</s>
<s id="NEST_Berno.s13">Vadmel og ull</s>	<s id="NEST_Ber_136en.s14">Frieze and wool</s>
<s id="NEST_Berno.s14">Hun viser til at de mange bunadene som ble komponert på begynnelsen av 1900-tallet var et ledd i en ideologikamp, det handlet om å gjenskape det opprinnelige «norske», ikke nødvendigvis rekonstruere de historiske plaggene som var i bruk rundt om i landet.</s>	<s id="NEST_Ber_136en.s15">Kari-Anne Pedersen refers to the many national costumes that were designed as a part of an ideology battle at the beginning of the 18th century.</s> <s id="NEST_Ber_136en.s16">The main goal was to recreate what was truly Norwegian and not necessarily reconstruct the historical garments that were used throughout the country.</s>
<s id="NEST_Berno.s15">Hulda Garborg (1862-1934), som ofte kalles den norske bunadens mor, presenterte sine første drakter i 1903, basert på plagg fra Gol i Hallingdal.</s>	<s id="NEST_Ber_136en.s17">Hulda Garborg (1862-1934) who often is called the “mother of the bunad”, presented her first national costumes in 1903.</s> <s id="NEST_Ber_136en.s18">They were based on garments from a small place called Gol in Hallingdal.</s>
<s id="NEST_Berno.s16">Da fantes det allerede i bruk en festdrakt med perlebroderier basert på Hardangerbunaden.</s>	<s id="NEST_Ber_136en.s19">At that time a national costume used for formal use already existed, with purl embroidering based on the bunad from Hardanger.</s>
<s id="NEST_Berno.s17">Garborgs ideal var broderi med lokal forankring, mønstre ble funnet på gamle draktdeler, tøfler, kister og hestedekke.</s>	<s id="NEST_Ber_136en.s20">Garborg’s ideal of a national costume was embroidering with local roots, patterns from both old national costumes, indoor shoes, chests and horse coats.</s>
<s id="NEST_Berno.s18">Det var vadmel, det var ull og det var ulltråd.</s>	<s id="NEST_Ber_136en.s21">They should be based of frieze, wool and woolen threads.</s>
<s id="NEST_Berno.s19">– De valgte å bruke ull og stoffer som passet inn i ideologien, de produserte stoffer som de trodde liknet, men som ikke liknet i det hele tatt.</s>	<s id="NEST_Ber_136en.s22">“They chose to use wool and fabrics which matched their ideology, and produced something they thought resembled, but that was far from the same.</s>
<s id="NEST_Berno.s20">Det er først fra 1970-tallet at man begynner å lage drakter basert på historisk kildemateriale, forteller Pedersen.</s>	<s id="NEST_Ber_136en.s23">It was not before the 1970’s that Norwegians started to create national costumes based on historical sources”, Pedersen says.</s>
<s id="NEST_Berno.s21">Som konservator ved Norges største draktsamling har Pedersen et godt utgangspunkt for å rekonstruere gammel drakthistorie.</s>	<s id="NEST_Ber_136en.s24">As a curator at Norway’s largest collection of national costumes Pedersen has a good starting point for reconstructing old costumes.</s>
<s id="NEST_Berno.s22">Rekonstruerte gamle drakter blir stadig mer populære som bunader her i landet, og skiller seg fra mange av de komponerte bunadene fra tidlig på 1900-tallet ved å ha større variasjon i materialer og snitt.</s>	<s id="NEST_Ber_136en.s25">These are continuously becoming more popular and many Norwegians wish to use them as national costumes.</s> <s id="NEST_Ber_136en.s26">This can be explained by the fact that the costumes stand out from many of the designs from the early 18th century and have a larger variation in both materials and cuts.</s>
<s id="NEST_Berno.s23">Selv har Kari-Anne Pedersen rekonstruert de tradisjonelle beltestakkene fra Telemark og kan fortelle om store variasjoner i tekstilbruk, selv om snitt og plagg har lokalt preg.</s>	<s id="NEST_Ber_136en.s27">Kari-Anne Pedersen herself has reconstructed the traditional “beltestakk” from Telemark, a famous type of national costume which is characteristic for its belt skirt made out of many layers of cloth.</s> <s id="NEST_Ber_136en.s28">Her designs have a great variation in the choice of textiles but all of the costumes have garments and cuts which are characteristic for the local area.</s>
<s id="NEST_Berno.s24">I Folkemuseets samlinger har hun blant annet et liv til en beltestakk, utført i fin gul silke fra Kina.</s>	<s id="NEST_Ber_136en.s29">The Folk Museum’s collection includes a waist of a “beltestakk” by Pedersen which is made from high-class yellow silk from China.</s>
<s id="NEST_Berno.s25">Der finnes også plagg med stoffer som ute i Europa på 1700-tallet var forbeholdt adel og kongelige.</s>	<s id="NEST_Ber_136en.s30">There are also garments made out of fabrics which during the 16th century Europe were reserved the aristocracy and the royalties.</s>