<head id="NEST_Berno.h1">Bereiste bunader</head> <head id="NEST_Ber_137en.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_137en.s1">A young girl goes to church in a town in the western parts of Norway one Sunday morning in the beginning of the 19th century.</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_137en.s2">The fog has come down between the mountaintops, but it does not get through the shirt she is wearing above her Sunday clothing.</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_137en.s3">She has inherited the clothes from home, altered from older fabrics to a form more suited to her own body and the style of the 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_137en.s4">The history of the Norwegian national folk costume, called “bunad” is also the history of the industrial revolution in Britain and the 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_137en.s5">Because the fabrics she is wearing is not only from Norway.</s>

<s id="NEST_Berno.s6">Livet i ulldamask er vevd i England.</s> <s id="NEST_Ber_137en.s6">The bodice made in wool damask is weaved in England.</s>

<s id="NEST_Berno.s7">Silketørklene er fra Frankrike og Østerrike.</s> <s id="NEST_Ber_137en.s7">The silk scarves 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_137en.s8">Perhaps she is wearing, if this is the day she is getting married, strands of silk from China or a bridal bodice made of colors 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_137en.s9">Today the Norwegian national costumes are being reconstructed, and as in former times most suited on festive 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_137en.s10">- According to Hulda Garborg all aspects of the national costumes should preferably be like they were homemade of Norwegian wool from Norwegian sheep.</s>

<s id="NEST_Berno.s11">Dette var en del av norskdomsrørsla.</s> <s id="NEST_Ber_137en.s11">This was a part of a Norwegian nationalistic movement at that time.</s>

<s id="NEST_Berno.s12">Bunadbruk var en motkulturell bevegelse, forteller konservator ved Norsk Folkemuseum, Kari-Anne Pedersen.</s> <s id="NEST_Ber_137en.s12">The wearing of the bunad became a countercultural movement, says the curator at Norsk Folkemuseum, Kari-Anne Pettersen</s>

<s id="NEST_Berno.s13">Vadmel og ull</s> <s id="NEST_Ber_137en.s13">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_137en.s14">She points out that several of the bunads that were created in the beginning of the 20th century was a part of an ideological struggle, which was about recreating what was originally “Norwegian”, not necessarily to reconstruct the historical costumes that were in use across 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_137en.s15">Hulda Garborg (1862-1934), who is often referred to as the mother of the bunad, presented her first costumes in 1903, based on clothing originating from 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_137en.s16">At the time, there was already a festive costume in use, which was embroidered with pearls 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_137en.s17">Garborg’s ideal was embroideries that were based on local tradition, patterns were recovered from old parts of clothes, and other traditional Norwegian handicrafts, like old wooden chests with rose painting and old woven tapestries.</s>

<s id="NEST_Berno.s18">Det var vadmel, det var ull og det var ulltråd.</s> <s id="NEST_Ber_137en.s18">It was frieze, it was wool and it was woolen string.</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_137en.s19">-They chose to use wool and other fabrics that suited the ideology, they manufactured fabrics that that they thought looked similar, but was not similar at all.</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_137en.s20">Only from the 1970s, one started producing costumes based on reliable historical sources, says Pedersen.</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_137en.s21">As the curator of Norway’s largest collection of national costumes, Pedersen has solid basis to reconstruct old history of the national costume</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_137en.s22">Old costumes that have been reconstructed are becoming increasingly popular as bunad across Norway, and are quite different from several of the designer-made ones from the early 20th century, by having a considerable larger variation in terms of fabrics and cut.</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_137en.s23">Kari-Anne Pedersen herself has reconstructed the traditional beltestakk from Telemark, a bunad with its skirt characterized by the wide, tablet-woven belt that is wound several times round the? waist, and speaks of substantial differences in the use of textiles, even though the clothes and their form are of a local character.</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_137en.s24">In the museum’s collections she has, among other things, a beltestakk in fine yellow silk originating 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_137en.s25">There are also clothing in existence consisting of fabrics that in 18th century Europe were only available for the nobility and the royals.</s>

<head id="NEST_Berno.h1">Bereiste bunader</head>	<head id="NEST_Ber_137en.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_137en.s1">A young girl goes to church in a town in the western parts of Norway one Sunday morning in the beginning of the 19th century.</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_137en.s2">The fog has come down between the mountaintops, but it does not get through the shirt she is wearing above her Sunday clothing.</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_137en.s3">She has inherited the clothes from home, altered from older fabrics to a form more suited to her own body and the style of the 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_137en.s4">The history of the Norwegian national folk costume, called “bunad” is also the history of the industrial revolution in Britain and the 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_137en.s5">Because the fabrics she is wearing is not only from Norway.</s>
<s id="NEST_Berno.s6">Livet i ulldamask er vevd i England.</s>	<s id="NEST_Ber_137en.s6">The bodice made in wool damask is weaved in England.</s>
<s id="NEST_Berno.s7">Silketørklene er fra Frankrike og Østerrike.</s>	<s id="NEST_Ber_137en.s7">The silk scarves 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_137en.s8">Perhaps she is wearing, if this is the day she is getting married, strands of silk from China or a bridal bodice made of colors 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_137en.s9">Today the Norwegian national costumes are being reconstructed, and as in former times most suited on festive 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_137en.s10">- According to Hulda Garborg all aspects of the national costumes should preferably be like they were homemade of Norwegian wool from Norwegian sheep.</s>
<s id="NEST_Berno.s11">Dette var en del av norskdomsrørsla.</s>	<s id="NEST_Ber_137en.s11">This was a part of a Norwegian nationalistic movement at that time.</s>
<s id="NEST_Berno.s12">Bunadbruk var en motkulturell bevegelse, forteller konservator ved Norsk Folkemuseum, Kari-Anne Pedersen.</s>	<s id="NEST_Ber_137en.s12">The wearing of the bunad became a countercultural movement, says the curator at Norsk Folkemuseum, Kari-Anne Pettersen</s>
<s id="NEST_Berno.s13">Vadmel og ull</s>	<s id="NEST_Ber_137en.s13">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_137en.s14">She points out that several of the bunads that were created in the beginning of the 20th century was a part of an ideological struggle, which was about recreating what was originally “Norwegian”, not necessarily to reconstruct the historical costumes that were in use across 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_137en.s15">Hulda Garborg (1862-1934), who is often referred to as the mother of the bunad, presented her first costumes in 1903, based on clothing originating from 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_137en.s16">At the time, there was already a festive costume in use, which was embroidered with pearls 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_137en.s17">Garborg’s ideal was embroideries that were based on local tradition, patterns were recovered from old parts of clothes, and other traditional Norwegian handicrafts, like old wooden chests with rose painting and old woven tapestries.</s>
<s id="NEST_Berno.s18">Det var vadmel, det var ull og det var ulltråd.</s>	<s id="NEST_Ber_137en.s18">It was frieze, it was wool and it was woolen string.</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_137en.s19">-They chose to use wool and other fabrics that suited the ideology, they manufactured fabrics that that they thought looked similar, but was not similar at all.</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_137en.s20">Only from the 1970s, one started producing costumes based on reliable historical sources, says Pedersen.</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_137en.s21">As the curator of Norway’s largest collection of national costumes, Pedersen has solid basis to reconstruct old history of the national costume</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_137en.s22">Old costumes that have been reconstructed are becoming increasingly popular as bunad across Norway, and are quite different from several of the designer-made ones from the early 20th century, by having a considerable larger variation in terms of fabrics and cut.</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_137en.s23">Kari-Anne Pedersen herself has reconstructed the traditional beltestakk from Telemark, a bunad with its skirt characterized by the wide, tablet-woven belt that is wound several times round the? waist, and speaks of substantial differences in the use of textiles, even though the clothes and their form are of a local character.</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_137en.s24">In the museum’s collections she has, among other things, a beltestakk in fine yellow silk originating 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_137en.s25">There are also clothing in existence consisting of fabrics that in 18th century Europe were only available for the nobility and the royals.</s>