Amgueddfa Blog

On Portals

Gesiye, 23 Tachwedd 2022

There are many different kinds of portals. They can be physical spaces, periods of time, dreamworlds and rituals. Anyone can make them. My favourite kinds of portals are stories: our doorways to freedom and lessons on shapeshifting.

Llun llonydd o ffilm Gesiye, yn dangos menyw yn dawnsio ar draeth. Mae gan y ffotograff hidlydd glas drosto
Llun llonydd o ffilm Gesiye, yn dangos menyw yn penlinio i lawr ar draeth gyda ffurfiad craig y tu ôl iddi

Stories can be the most dangerous portals. When a story becomes the only one that can be told, when it is wielded by those in power and used to suppress other narratives, the portal becomes calcified. Like a thing that wants to change and grow but no longer can, we get trapped halfway through the portal, tense and afraid, unable to see ourselves

For me the pandemic was a portal of sorts. A sudden opening, disconnecting me from regular life, a space created where there was none before. And time: to process, to rest, to anxiously worry about survival and whether or not I’d really washed my hands before I ate those chips yesterday. It wasn’t easy: like many others I lost my home, I lost my income, I lost relationships. This pandemic portal was full of a grief I couldn’t run away from. Everyone had their own hurts and the air was thick with it. Slowly, stubbornly, I realised it was best to sit with the discomfort. I used the space to shout and dance, to get lost in the forest, to grow plants. I used the time to write, to reach out for help, to dream and to create. The land was my guide, and in that space-time I met myself again.

Llun llonydd o ffilm Gesiye, yn dangos traeth yn Trinidad a Tobago. Mae safbwynt y ddelwedd yn edrych drwy ffurfiant creigiau


Portals beget portals. Some doors can only be accessed by going through others. I was sitting under a tree with my sibling when the idea for The Wound is a Portal first whispered itself to me. From the beginning, the work knew itself: I would create a portal, a space for healing and for community. This portal would take the form of a series of tattoos: each one unique but similar to the next so that they could create an animation. The intention was simple: connection.

Llun llonydd o ffilm Gesiye, yn dangos menyw yn ymlacio gyda'i phen yng nghôl person arall.
Llun llonydd o ffilm Gesiye, yn dangos dau ddyn mewn sgwrs. Mae un yn gwisgo tshirt glas, a'r llall yn grys glas gyda'r botymau'n cael eu dadwneud.

My experiences tattooing and being tattooed had shown me that tattoos can be a powerful tool for addressing and healing trauma. Pain is a portal. This ritual is a meditation: bringing our bodies and minds to the present, reminding us of our agency and serving as a permanent marker of belonging.

It’s easy to forget yourself when you are trapped in a calcified portal. We have been hurting in so many ways. The air is thick with it. This work isn’t really about Picton. It’s about Portals. It’s an offering. I wanted to create a space for a group of Black Trinidadians to meet and talk about the stories of our families. A safe space where we could sit with our pain, one where we could talk about race and share our experiences candidly. I wanted us to connect with each other and to connect with the land. I wanted to create a space for us to see ourselves.

Llun llonydd o ffilm Gesiye, yn dangos menyw yn dal crisial felly mae'r golau'n disgleirio drwyddo.
Llun llonydd o ffilm Gesiye, yn dangos person yn y broses o gael ei datŵio

Tattoos are some of the most fluid portals. Like us, once created, they are always changing. In The Wound is a Portal, eight participants between the ages of 20 and 78 volunteered to receive a tattoo inspired by the island and by breeze blocks, a common architectural feature throughout the country—our way of letting the outside in. The work developed over eight months to incorporate the mythology of our island and to include interviews with participants, dance and writing.

Llonydd o ffilm Gesiye, yn dangos tri pherson sy'n gwenu mewn sgwrs ar draeth trofannol.


My creative process is spiritual, it’s joyful, it’s honest. These days, it feels like my role as an artist is to stay open, to witness and experience life in all its beauty and horror and still be able to stay soft, flowing from my centre, grounded in possibility. I’ve poured myself into this work, lovingly tending to all of its parts, creating space for healing and dreaming, and witnessing change in myself and my community. Now it’s here, out in the world, a journey taken together. All this time I thought that I was making a portal, now I realise that it was making me.

Llun llonydd o ffilm Gesiye, yn dangos traeth tywodlyd, dŵr clir y môr a chysgod person yn dawnsio
Llun llonydd o ffilm Gesiye, yn dangos person yn gwneud cwpan o glai
Llun llonydd o ffilm Gesiye, yn dangos môr glas gydag aderyn yn hedfan yn y pellter


See The Wound is a Portal for yourself as part of the Reframing Picton exhibition at National Museum Cardiff until 3 September 2023.


Film Stills. The Wound is a Portal, Gesiye, 2022, Trinidad.

Thank you to everyone who supported and participated in this work.  
Commissioned by Amguedddfa Cymru in partnership with the Sub-Saharan Advisory Panel  
Participants: Robbie Price, Safiya Hoyte, Adam ‘Mar” Andrews, Alicia Viarruel, Dawn-Marie Alexander, Kevon Samuel, Nadine Marshall-Joseph, Joan Ballantyne  
Production Manager: Lisa-Marie Brown  
Production Assistant: Neisha Rahamut  
Researcher: Timiebi Souza-Okpofabri  
Interviewer: Tracy Assing  
Stylist: Suelyn Choo  
Composer: Omar Jarra  
Location Sound Recordist: Jelani Serette  
Director of Photography: Mikhail Gibbings  
2nd Camera Operator: Aviel Scanterbury  
Drone Camera Operator: Renaldo Celestine Matamoro  
2nd Drone Camera Operator: Avery Smart  
Designers: Meiling & Kaleen Salois  
Colour Grader: Shane Hosein
& Maia Nunes, Rheanna Chen, Melanie Archer, Bunty & Rory O’Connor, Justin Koo, Stephanie Roberts, Nicholas Thornton, Pomegranate Studios, Nigel & Debbie Souza-Okpofabri, Eileen & Vernon Phipps, Urban Hudlin, Ancestors Known & Unknown, The Land.

Reframing Picton – from idea to exhibition

Reframing Picton project group, 22 Tachwedd 2022

The Reframing Picton exhibition has now opened at National Museum Cardiff.

The exhibition is a culmination point for over two and a half years of work for Amgueddfa Cymru and its community partners, the Sub-Sahara Advisory Panel (SSAP) and both organisations’ outreach programmes – the Sub-Sahara Advisory Panel Youth Network and the Amgueddfa Cymru Producers.

In this blog, one of the young people involved in the project since the very beginning gives us an insight into the project, guiding us through the key stages of the Reframing of Sir Thomas Picton.

Date: Dec 2021

We’re well over a year into this project so this entry is well overdue: let’s get to it.

What is the project about?

Amgueddfa Cymru’s collection includes a portrait of Lieutenant-General Sir Thomas Picton, the highest-ranking soldier to lose his life at the battle of Waterloo in 1815. In addition to the oil portrait, plaques and statues were erected around Wales decades after Picton’s passing; these memorials have remained into the 21st century. 

Why make a change now?

On 25 May 2020, a father accused of using a counterfeit $20 dollar bill became a murder victim; the perpetrators were four Minneapolis Police Department officers. The victim, George Floyd, whose brutal end was captured via cameraphone and disseminated globally on social media. George Floyd’s murder served as a catalyst for protests and demonstrations starting in Minnesota, Minneapolis, spreading across North America, South America, Australia, Eurasia, and of course Africa. By 6 June 2020, global solidarity with George Floyd and against racism manifested in massive public pressure placed on the governments of countries across the world to address the racism within their societies; Wales of course held demonstrations from Cardiff, Swansea and Carmarthenshire to Wrexham and Bangor in the north.

This is where I enter the frame. I was part of the team that planned the demonstrations in Bangor, Caernarfon, and Llandudno. The Sub-Sahara Advisory Panel (SSAP) and the SSAP Youth Leadership Network took note of the work being done in the area and eventually, working alongside SSAP and SSAP Youth Leadership Network, brought the opportunity to get involved in the Reframing Picton project.

So I was recruited as one of the black, African-British, young(ish) activists for at least 3 reasons:

  1. My filmmaking and photography capabilities              
    I’m a filmmaker and photographer. On 6 June I was part of the team capturing the demonstration in Bangor.

  2. To make a decision regarding what to do about the portrait              
    A huge proportion of this project has been reaching a decision regarding what to actually do with the 2.14m x 1.37m, gilt-framed, portrait of Picton. We decided it should be removed.              
    Primarily, humans unintentionally associate scale with importance hence an oil painting of this size has always been a “flex”; or to be more proper, a display of status hence the intent of making such a large painting is to convey the importance of the subject. The team being aware of this underlying message of veneration towards Picton, in the absence of the violence he was responsible for, led us to the decision to remove the portrait.

  3. Reach a decision on an artist to commission
    As a result of removing the portrait, the project team decided to commission artists to create art that would better tell the story of Picton; we were particularly interested in artists from Trinidad where Picton was the Governor from 1797 to 1801. Most importantly, the team was interested in commissioning a piece to better educate the audience about Picton, a mass murderer, rather than blindly memorialise the man. We expect the new additions to be ready to view in one of the historic paintings galleries at National Museum Cardiff by 1 August 2022.

As we speak, our team is allowing the artists some time to create, while we take time to build capacity. Lieutenant-General Sir Thomas Picton will be remembered differently for future generations. As well as National Museum Wales removing Picton’s portrait, the Hall of Heroes of Cardiff’s City Council has decided to cover up the statue of Picton placed there in light of public pressure. 

The original aim of the project, Reframing Picton, does what it says on the tin. Our objective was for the audience to see Thomas Picton in a truer light, to reframe his character, and to include the seldom told stories; I hope at the conclusion of the project that we will reach that goal. 

Date: Feb 2022

What’s the project about?


Mae'r ddelwedd yn dangos dyn, Picton, wedi'i wisgo mewn gwisg filwrol o'r 19eg ganrif. Mae ei wisg yn cynnwys siaced goch llachar a throwsus gwyn. Mae stribed paent gwyn yn cuddio wyneb Picton sydd wedi cael ei ffotosiopio ar y ddelwedd

Defnyddiwyd y ddelwedd fel rhan o'r alwad ar gyfer prosiect Ailfframio Picton


The portrait that started this whole project. 

The protests led by Black Lives Matter around the globe in 2020, prompted by the murder of George Floyd, also triggered Amgueddfa Cymru to think about some of the characters within their collection. 

Thomas Picton, who died a Lieutenant-General and a knight, has his military exploits recorded in the prevailing history of the man. What is seldom discussed about the former Governor of Trinidad is the perspective of the inhabitants of Trinidad who had to live under his rule and the bits which the British Empire, and its advocates, wish to conceal.

Even today, Picton’s brutal legacy affects the people on the island. 

From Wales to Trinidad, roads are named, plaques and paintings hang, and statues and monuments are erected; all to memorialise a man with a reputation for cruelty and sadism.

We hope that this project allows the audience to view Picton through the eyes of some of the humans that lived around him, rather than the fabricated reverence we know was bestowed posthumously. 

Most importantly, we hope the audience can decide which side of history Picton sits on. 

Date: March 2022

Reframing Picton started as an idea that the SSAP's Youth Leadership Network engaged with. 

The SSAP used its network to partner with a dynamic team of Youth with Amgueddfa Cymru’s experienced staff. The project team that was assembled spent years deciding how to approach the subject of Thomas Picton through the Museum collection of items and a re-designed (or novel) exhibition. 

The entire process of creating a commission was new to me; some of the team had varied experience working with Amgueddfa Cymru, all of which came in handy as we progressed. I really had no appreciation for the amount of work it takes to review items from the museum's collection, curate them according to some criteria and create a captivating exhibition.

The museum supplied really capable and supportive people who truly allowed the Youth team to lead decisions: an entirely worthwhile experience.

Throughout the entire project I think there were two major decisions that felt the most important: 

1) Deciding whether the portrait should go back into public circulation, if so, how?

2) Reach a decision on the commissioned artists

The outcome of these decisions can only be answered by seeing the exhibition.


Date: 19th May 2022

Llun o ddynes mewn ystafell dywyll, yn cynnwys lluniau o bobl Ddu, a phob un gyda thatŵ

'The Wound is a Portal' gan Gesiye

Dau berson yn edrych ar bortread Thomas Picton

Arddangosfa Ailfframio Picton

Reframing Picton is a project whose mandate is inclusivity, particularly to the descendants of Picton’s victims. 

Reaching a decision on the commissioned artists was one of the most difficult processes of this project, not least because of the volume of applicants. I truly believe the process of wading through applications has the effect of further focusing the team's understanding of the project. As we saw the Artist’s interpretation of the call-out, it allowed us to cement the theoretical ideas we had about the project, and decide whether the artist’s ideas matched our collective vision of the project.

One of the museum staff captured the sentiment behind the idea of commissioning an artist perfectly:

The Museum acknowledges they are an institution that has been founded and staffed by white people. They know that a project that contends with so much squalid history with White Europeans perpetrating unquantifiable violence against Black Africans, as such the project should be led by African diaspora. 

Between the project team and the artist commissions, I have my expectations set pretty high as the people are so capable in their artistic craft and in sync with the zeitgeist.           

Date: 25th June 2022

What’s happening with the portrait

The Reframing Picton project will be unveiled soon. I have the typical combination of emotions you’d expect; mostly apprehension.

At the heart of the issues with Thomas Picton’s portrait was always the scale, the ostentatious frame, and the elevated placement. The sentiment behind each of these factors is that of respect and reverence. Devoid of the context of how Picton rose to infamy, the issues listed need a solution.

The way in which you see the portrait presented in the museum's Historic Art gallery represents the sum of the Reframing Picton project team’s thinking. After spending so long working on this project avoiding the accusation of “erasing history” I believe we’ve struck an impressive balance. 

The Picton portrait will remain on show in an altered manner, amongst exhibits and Trinidadian artist installations that I hope will convey context on Picton.

Date: 14th October 2022

Picton Reframed – what now?

Reframing Picton the project has been finished for approximately 3 months now, with the unveiling taking place around 2 months ago.

I intimately remember my first time seeing the entire space, the ecstasy I felt over completing the project was very welcome after all the time and energy put into the project. Beyond the endorphins of finishing a task, I have a vague sense of pride in participating in the project because I believe the self-esteem of some unknown, future visitors will be lifted once they take in some of the facts covered within this exhibition. At least that’s what I hope.

Some of my most serious trepidation was around the artists and their outputs. Intrepidation quickly followed after my first viewing of the commissioned artist’s installations. I felt like the artists were exactly right, beyond that they accomplished what the AC-SSAP team never could; creating their exhibits as an interpretation of the artistic expression.

I participated in this project with the hope that future generations will have information and exhibits like Reframing Picton readily available to them and that they should not be daunted by museums and historical sites. I have personally found a new appreciation for arts, heritage, culture, and the work involved in preserving these aspects of society, and most of all, I hope more museums adopt working models that promote this degree of community collaboration.

Project gwirfoddoli yn ennill gwobr!

Sian Taylor-Jones, 16 Tachwedd 2022

Mae ‘Gardd ein Hamgueddfa’ yn Amgueddfa Genedlaethol Caerdydd wedi derbyn gwobr gymdogaeth Lefel 3 – Cynnydd gan Cymru yn ei Blodau a’r RHS. 

Rydym wrth ein boddau o dderbyn y wobr hon ar ôl cyfnod mor fyr. Mae’n brawf o waith caled ein gwirfoddolwyr, wnaeth ddim ond dechrau ar y project ym mis Mawrth 2022. Fe wnaeth y beirniaid gydnabod ein “gweledigaeth o greu newid cadarnhaol”, oedd yn un o amcanion y project, ac yn un o brif ymrwymiadau Amgueddfa Cymru.

Mae gwirfoddolwyr wedi bod yn gweithio i wella tiroedd yr Amgueddfa, clirio chwyn, a chreu cynefinoedd newydd ar gyfer bywyd gwyllt. Mae grŵp yn cyfarfod bob bore Iau, ac mae grŵp llai o Dimensions UK yn cefnogi’r gwaith. Os hoffech ymuno â ni i wneud gwahaniaeth yng Nghaerdydd, ewch i Cyfleon cyfredol | Museum Wales .


Ffosilau anarferol newydd mewn creigiau hynafol yng Nghymru

Lucy McCobb, 16 Tachwedd 2022

Beth wnaethoch chi yn ystod y Cyfnod Clo? Wnaethoch chi fwynhau byd natur, a gweld pethau newydd wrth gerdded eich milltir sgwâr bob dydd? Dyna wnaeth dau o Gymrodorion Ymchwil Anrhydeddus yr Amgueddfa, Dr Joe Botting a Dr Lucy Muir, a chanfod trysorfa o ffosilau newydd ger eu cartref yn y canolbarth. Doedd y ddau ymchwilydd annibynnol yn methu teithio i Amgueddfa Cymru i barhau â’u gwaith ar fywyd hynafol, felly dyma nhw’n defnyddio cyllido torfol i brynu microsgopau er mwyn astudio eu canfyddiadau newydd yn fanwl. Mae’r ffosilau’n perthyn i sawl grŵp anifeiliaid gwahanol, gan gynnwys rhai sydd bron byth yn ffurfio ffosilau am fod ganddynt gyrff meddal, heb gregyn, esgyrn na dannedd. Mae Joe a Lucy yn cydweithio gyda phalaeontolegwyr o bob cwr o’r byd i astudio ffosilau a dehongli’r hyn allan nhw ei ddatgelu am fywyd ym moroedd Cymru dros 460 miliwn o flynyddoedd yn ôl. 


Mewn erthygl a gyhoeddwyd heddiw yng nghyfnodolyn Nature Communications – dan arweiniad Dr Stephen Pates o Brifysgol Caergrawnt a gyda chymorth Dr Joanna Wolfe o Brifysgol Harvard, mae Joe, Lucy a’u cydweithwyr yn disgrifio dau ffosil anarferol o’r safle newydd. Ffosilau ydyn nhw o anifeiliaid bach iawn, meddalgorff, sy’n debyg i greadur rhyfedd o’r enw Opabinia, oedd yn byw yng Nghanada dros 40 miliwn o flynyddoedd yn ôl. Disgrifiwyd anifail tebyg o’r enw Utaurora mewn creigiau o oed tebyg yn UDA. Wyddon ni ddim os yw’r ffosilau o Gymru yn perthyn i’r un teulu o anifeiliaid a ganfuwyd yng Ngogledd America, ond maen nhw’n sicr yn dangos fod anifeiliaid rhyfedd, tebyg i opabiniidau yn byw yn y moroedd yn llawer hirach nag oedden ni’n ei gredu, a dros ardal ddaearyddol fwy.


O ble mae’r ffosilau’n dod?

Cafodd y ffosilau eu canfod mewn chwarel ar dir preifat ger Llandrindod (mae’r union leoliad yn gyfrinach er mwyn gwarchod y safle). Cafodd y ffosilau eu canfod mewn creigiau a ddyddodwyd dan y môr yn y cyfnod Ordoficaidd, dros 460 miliwn o flynyddoedd yn ôl, pan oedd canolbarth Cymru dan ddŵr gydag ambell i ynys folcanig fan hyn a fan draw.

Pa fath o anifeiliaid oedden nhw?

Mae’r ffosilau o Gymru yn edrych fel ‘opabiniidau’ – anifeiliaid rhyfedd oedd i’w gweld cyn hyn mewn creigiau Cambriaidd llawer hŷn yn unig. Anifeiliaid morol oedd Opabiniidau, gyda chyrff meddal a bongorff tenau gyda rhes o fflapiau ar y ddwy ochr (ar gyfer nofio mae’n bosib) a phâr o goesau trionglog cwta oddi tanynt. Ar un pen i’r bongorff roedd cynffon fel gwyntyll. 

Ar y pen arall roedd eu nodwedd amlycaf – proboscis, neu dduryn hir yn ymestyn o’r pen, fel rhyw fath o sugnydd llwch. Yn wahanol i’r Opabiniidau Cambriaidd, mae rhes o bigau bach ar broboscis y rhywogaeth o Gymru. Y gred yw bod y proboscis yn hyblyg, ac efallai’n cael ei ddefnyddio i gasglu bwyd o wely’r môr a’i symud at y geg, oedd y tu ôl i’r proboscis ar ochr isaf y pen. Roedd y coesau a’r proboscis yn gylchog, gyda nifer o segmentau fel modrwyau. Ond doedd y rhain ddim yn ‘gymalog’, yn yr un modd ag y mae coesau cranc neu gorryn yn gymalog. Y gred yw bod opabiniidau yn rhannu’r un cyndadau ag anifeiliaid coesau cymalog modern o’r enw ‘arthropodau’, heb fod yn gyndeidiau uniongyrchol.

Mae’r mwyaf o’r ddau ffosil yn 13mm o hyd, gan gynnwys y proboscis 3mm. Mae’r lleiaf yn 3mm o hyd, gyda’r proboscis bron i draean o’i holl hyd. Mae rhai gwahaniaethau rhwng y ddau ffosil, sy’n awgrymu bod y lleiaf yn fersiwn iau o’r sbesimen mwy, neu efallai’n rhywogaeth hollol wahanol. Ond mae’r ddau sbesimen o Gymru yn llawer llai na Opabinia, sydd â ffosilau hyd at 7cm o hyd. 


Enw Cymreig i ryfeddod Cymreig!

(Mae gan bob rhywogaeth, boed yn fyw neu wedi marw allan, enw gwyddonol mewn dwy ran – enw genws ac enw rhywogaeth. Yr enw gwyddonol a ddewiswyd ar gyfer un o’r anifeiliaid ffosil yw Mieridduryn bonniae. Enwyd y rhywogaeth ar ôl Bonnie, nith perchnogion y tir lle canfuwyd y ffosilau, i ddiolch i’r teulu am eu cefnogaeth a’u brwdfrydedd yn ystod y gwaith ymchwil. Mae’n eithaf cyffredin i rywogaethau newydd gael eu henwi ar ôl y bobl wnaeth eu darganfod, neu sydd wedi gwneud llawer o waith ar rywogaethau tebyg. Daw enw’r genus drwy gyfuno’r geiriau Cymraeg mieri a duryn (proboscis). Ysbrydolwyd hyn gan y rhes o bigau, tebyg i fieri, ar hyd proboscis yr anifail. Mae’n anarferol i enw gwyddonol gael ei seilio ar y Gymraeg – geiriau Lladin neu Groeg yw gwreiddyn y rhan fwyaf. Bydd yr enw Mieridduryn yn dyst i’r ffosil gael ei ddarganfod yng Nghymru.

Penderfynwyd nad oedd yr ail ffosil wedi ei gadw’n ddigon da i’w gydnabod yn rhan o’r un rhywogaeth, neu ei enwi fel rhywogaeth wahanol. 


Beth alla i wneud os ydw i’n canfod ffosil anarferol?

Mae’r ffosilau hyn yn dangos fod llawer o bethau newydd, cyffrous i’w canfod yng Nghymru. Os ydych chi’n canfod rhywbeth diddorol a ddim yn siŵr beth yw e, bydd gwyddonwyr yr amgueddfa yn barod i geisio ei adnabod i chi, boed yn ffosil, carreg, mwyn, anifail neu blaned. Anfonwch ffotograff aton ni (gyda cheiniog neu bren mesur i ddangos y maint) a manylion ble wnaethoch chi ei ganfod. E-bostiwch ni drwy wefan yr Amgueddfa neu drwy Twitter @CardiffCurator. Mae sawl Taflen Sylwi ar ein gwefan hefyd, fydd yn eich helpu i adnabod rhai o’r gwrthrychau mwyaf cyffredin.

Cofnodion Tywydd 2022

Penny Tomkins, 4 Tachwedd 2022

Helo Cyfeillion y Gwanwyn,


Rwyf isio rhoi diolch mawr i chi gyd am eich gwaith caled yn plannu eich bylbiau. Wnaethom ni plannu dros 18 mil o fylbiau ar draws y DU! Mi welais o’r llunia chafodd pawb llawer o hwyl yn helpu!


Cychwynnodd cofnodion tywydd ar 1 Tachwedd. Mae 'na adnoddau dysgu ar y wefan i helpu paratoi ar gyfer gymryd cofnodion. Rwyf wedi atodi hyn rhag ofn bod rhai heb ei gweld eto. Mae’r adnodd hyn yn ateb cwestiynau pwysig fel pam mae mesur tywydd yn ganolog i’n hymchwiliad.


Defnyddiwch eich siart tywydd i gofnodi'r glaw a’r tymheredd pob ddiwrnod y ydych yn yr ysgol. Ar ddiwedd yr wythnos, cofnodwch mewn i’r wefan i rannu eich canfyddiadau. Fedrwch hefyd gadael sylwadau a chwestiynau i fi ymateb yn fy blog nesaf.


Plîs gadewch i mi wybod sut ydych yn wneud, a rhannwch luniau trwy Twitter ac e-bost.


Dal ati gyda'r gwaith da Gyfeillion y Gwanwyn,


Athro’r Ardd