<head id="NEST_Berno.h1">Bereiste bunader</head> <head id="NEST_Ber_129en.h1">Bunader , from all corners of the world</head> <s id="NEST_Ber_129en.s1">(Bunad is the traditional Norwegian regional folk dress.</s> <s id="NEST_Ber_129en.s2">Almost every area of Norway has its own bunad that reflects a particular style and has its own specific embroidery and jewelry.)</s>

<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_129en.s3">A young girl goes to church some place on the west coast of Norway on a Sunday in the early 1800's.</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_129en.s4">Fog has lain between the peaks, but shuts out of a shirt she wears over 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_129en.s5">The clothes she has inherited at home, remade of older garment in the cut that suits her body and 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_129en.s6">The story of the Norwegian national costumes are also the story 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_129en.s7">Because the fabrics she wears is not only from Norway.</s>

<s id="NEST_Berno.s6">Livet i ulldamask er vevd i England.</s> <s id="NEST_Ber_129en.s8">The bodice of damask wool is woven in England.</s>

<s id="NEST_Berno.s7">Silketørklene er fra Frankrike og Østerrike.</s> <s id="NEST_Ber_129en.s9">Silk scarf is 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_129en.s10">Maybe she wears, whether this is the day she married, silk cords from China or bridal bodice colored with dyes 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_129en.s11">Today, the Norwegian national costumes are reconstructed, as now best suitable for celebrations.</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_129en.s12">- According to Hulda Garborg , who was the Norwegian writer, poet and folk dancer, should all by the costumes rather be like at home woven, of Norwegian wool from Norwegian sheep.</s>

<s id="NEST_Berno.s11">Dette var en del av norskdomsrørsla.</s> <s id="NEST_Ber_129en.s13">This was part of the Norwegian movement to promote they old traditions and 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_129en.s14">Use of national costumes was a counter culture movement," tells curator at the Norwegian Museum of Cultural History- Norsk Folkemuseum, Kari-Anne Pedersen.</s>

<s id="NEST_Berno.s13">Vadmel og ull</s> <s id="NEST_Ber_129en.s15">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_129en.s16">She shows that many costumes that were designed at the beginning of the 1900s was part of an ideological struggle, it was about to recreate the original "Norwegian", not necessarily reconstruct garments that were in use around 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_129en.s17">Hulda Garborg (1862-1934), is often called the mother of the Norwegian national costume, presented her first dress in 1903, based on garments from Gol in Halingdal, that is located in the east of Norway.</s>

<s id="NEST_Berno.s16">Da fantes det allerede i bruk en festdrakt med perlebroderier basert på Hardangerbunaden.</s> <s id="NEST_Ber_129en.s18">Then there was already in use a costume for holidays with pearl embroidery based on the Hardanger costume from a fjord area in Western Norway.</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_129en.s19">Garborg's ideal was embroidery with local roots, patterns were found on old costume parts, slippers, chests and horse blanket.</s>

<s id="NEST_Berno.s18">Det var vadmel, det var ull og det var ulltråd.</s> <s id="NEST_Ber_129en.s20">It was a frieze, it was wool and it was thread of wool.</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_129en.s21">- They chose to use wool and fabrics that fitted into the ideology, they produced fabrics that they thought resembled, but that did not resembled 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_129en.s22">It is only since the 1970s that one begins to make costumes based on historical source material, "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_129en.s23">As curator of the largest national costume collection in Norway Pedersen has a good basis to reconstruct the old costume history.</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_129en.s24">Reconstructed old costumes are becoming more popular as bunader in this country, and differs from many of the costumes designed early in the 1900s by having a wider variety of 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_129en.s25">Personally, Carrie-Anne Pedersen reconstructed the traditional beltestakkene (beltestakk is a bunad with its skirt characterized by the wide, tablet-woven sashed belt that is wound several times round the waist) from Telemark, that is located in southeastern Norway ,and can tell whether large variations in textile use, although cut and garment has local flavor.</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_129en.s26">I The National Museum's collections, she has a bodice to a beltestakk, made of fine 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_129en.s27">There also are garments of fabrics that in Europe in the 1700s was reserved for aristocracy and royalty.</s>

<head id="NEST_Berno.h1">Bereiste bunader</head>	<head id="NEST_Ber_129en.h1">Bunader , from all corners of the world</head> <s id="NEST_Ber_129en.s1">(Bunad is the traditional Norwegian regional folk dress.</s> <s id="NEST_Ber_129en.s2">Almost every area of Norway has its own bunad that reflects a particular style and has its own specific embroidery and jewelry.)</s>
<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_129en.s3">A young girl goes to church some place on the west coast of Norway on a Sunday in the early 1800's.</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_129en.s4">Fog has lain between the peaks, but shuts out of a shirt she wears over 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_129en.s5">The clothes she has inherited at home, remade of older garment in the cut that suits her body and 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_129en.s6">The story of the Norwegian national costumes are also the story 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_129en.s7">Because the fabrics she wears is not only from Norway.</s>
<s id="NEST_Berno.s6">Livet i ulldamask er vevd i England.</s>	<s id="NEST_Ber_129en.s8">The bodice of damask wool is woven in England.</s>
<s id="NEST_Berno.s7">Silketørklene er fra Frankrike og Østerrike.</s>	<s id="NEST_Ber_129en.s9">Silk scarf is 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_129en.s10">Maybe she wears, whether this is the day she married, silk cords from China or bridal bodice colored with dyes 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_129en.s11">Today, the Norwegian national costumes are reconstructed, as now best suitable for celebrations.</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_129en.s12">- According to Hulda Garborg , who was the Norwegian writer, poet and folk dancer, should all by the costumes rather be like at home woven, of Norwegian wool from Norwegian sheep.</s>
<s id="NEST_Berno.s11">Dette var en del av norskdomsrørsla.</s>	<s id="NEST_Ber_129en.s13">This was part of the Norwegian movement to promote they old traditions and 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_129en.s14">Use of national costumes was a counter culture movement," tells curator at the Norwegian Museum of Cultural History- Norsk Folkemuseum, Kari-Anne Pedersen.</s>
<s id="NEST_Berno.s13">Vadmel og ull</s>	<s id="NEST_Ber_129en.s15">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_129en.s16">She shows that many costumes that were designed at the beginning of the 1900s was part of an ideological struggle, it was about to recreate the original "Norwegian", not necessarily reconstruct garments that were in use around 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_129en.s17">Hulda Garborg (1862-1934), is often called the mother of the Norwegian national costume, presented her first dress in 1903, based on garments from Gol in Halingdal, that is located in the east of Norway.</s>
<s id="NEST_Berno.s16">Da fantes det allerede i bruk en festdrakt med perlebroderier basert på Hardangerbunaden.</s>	<s id="NEST_Ber_129en.s18">Then there was already in use a costume for holidays with pearl embroidery based on the Hardanger costume from a fjord area in Western Norway.</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_129en.s19">Garborg's ideal was embroidery with local roots, patterns were found on old costume parts, slippers, chests and horse blanket.</s>
<s id="NEST_Berno.s18">Det var vadmel, det var ull og det var ulltråd.</s>	<s id="NEST_Ber_129en.s20">It was a frieze, it was wool and it was thread of wool.</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_129en.s21">- They chose to use wool and fabrics that fitted into the ideology, they produced fabrics that they thought resembled, but that did not resembled 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_129en.s22">It is only since the 1970s that one begins to make costumes based on historical source material, "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_129en.s23">As curator of the largest national costume collection in Norway Pedersen has a good basis to reconstruct the old costume history.</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_129en.s24">Reconstructed old costumes are becoming more popular as bunader in this country, and differs from many of the costumes designed early in the 1900s by having a wider variety of 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_129en.s25">Personally, Carrie-Anne Pedersen reconstructed the traditional beltestakkene (beltestakk is a bunad with its skirt characterized by the wide, tablet-woven sashed belt that is wound several times round the waist) from Telemark, that is located in southeastern Norway ,and can tell whether large variations in textile use, although cut and garment has local flavor.</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_129en.s26">I The National Museum's collections, she has a bodice to a beltestakk, made of fine 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_129en.s27">There also are garments of fabrics that in Europe in the 1700s was reserved for aristocracy and royalty.</s>