: Amgueddfeydd, Arddangosfeydd a Digwyddiadau

My name is Arnie. I am an eight and a half year old Labrador retriever cross and I am a dog with a job. I am a guide to my human, the one called ‘Mum’.

We have been partners for seven years and she has very poor vision. Although she can see colour and shape, she has no depth vision and lives in a blurry world. My role is to keep her safe, stopping her from bumping into things and causing chaos.

This has been particularly important on our trips to one of our favourite places, National Museum Cardiff. Mum loves art and history, and we have been invited to help develop their audio tours for visually impaired people like Mum.

My role during these tours hasn’t just been to keep Mum safe but also to protect the priceless antiquities, beautiful paintings and fragile exhibits from the accident-prone one!

During these audio tours the museum guides describe in detail, to visually impaired visitors, their surroundings and interesting objects around them.

They also had sighted guides to help guide visually impaired people round the museum safely. Sighted guides are humans that do what I do: indicate steps, avoid objects and keep the visually impaired person safe. I think this makes a lot of sense because if they are anything like Mum they may need a little supervising.

One of the tours took us through the Evolution of Wales galleries. Our guide explained that each time the floor surface changed, it represented a movement forward in time in the story of the Earth. I took my time and stopped and tapped Mum's knee with my nose, so she knew to lift her feet and be aware of the changes in the surfaces.

I worked hard to ignore the giant bones, hanging in shapes of strange creatures, all over the place. I am sure they would have been very tasty, but I was in harness and at work!

The only part I was greatly concerned by was the terrible giant hairy creature that made a noise and moved, I tried to walk straight past and guide Mum safely out, but everyone stopped and stood to listen to one of the human guides talk about woolly mammoths and changing landscapes….? I had my eye firmly fixed on a quick exit!

Arnie Guide Dog

PS If other Guide Dogs want to take their owners on a pawsome Museum adventure, you can book a place on their audio description tours by phoning (029) 2057 3240. Woofing great!

Yr Oriel yn Siarad

Wrth i mi sefyll a myfyrio yng nghanol yr arddangosfa, tybiais i mi weld ffigwr yn sefyll tu ôl i’r cownter pren……yna wrth edrych ar y bolltiau a’r crysau gwlanen ar y silffoedd…bron â chlywn i leisiau dynion…gydag acenion amrywiol…teimlais fy hun fel pe bawn yn llithro’n llythrennol i’r gorffennol….mae’n wir mae distaw oedd y presennol…ond deuai bwrlwm siop brysur o’r gorffennol yn fyw i’m meddwl i……yn sydyn dychmygais gyda gwên ddrygionus bod siwtcês David Lewis yn neidio allan o’r casyn gwydr ac yn mynnu dweud ei stori am ei anturieithau cyffrous…….

Yn wir roedd fel petai congl arall o’r amgueddfa yn galw am y cyfle i fynegi ei hun a dweud ei stori mewn modd bywiog a dramatig.

Dyma stori siop draper Emlyn Davies!

Pwy oedd Emlyn Davies?

Dyn lleol o Gastell Newydd Emlyn a symudodd i Ddowlais, Merthyr Tydfil i weithio fel cynorthwy-ydd yn siop J.S.Davies Drapers. Ym 1898 agorodd ei siop ddefnydd ei hun.

Gwerthu gwlanen fyddai yn bennaf, a prynai’r mwyafrif o’i stoc o Felin Cambrian yn Drefach Felindre (sydd nawr yn gartref i’r Amgueddfa Wlân). Byddai David Lewis, perchennog y felin, yn teithio i’r cymoedd i gasglu archebion am wlanen, a’r defnydd yn cael ei gludo ar y tren i Ddowlais o stesion Henllan. Byddai’r gwlanen yn cael ei droi’n grysau a dillad isaf i weithwyr y pyllau glo a’r gweithfeydd haearn lleol.

Creu Sesiwn i Blant

Ychydig o fisoedd nôl, fe ddechreuais i weithio ar y syniad o greu sesiwn a gweithdy i blant ysgol yn yr amgueddfa wlân wedi selio ar yr hanes uchod, ac atgyfodi’r siop a chafodd ei ail greu yn yr amgueddfa yn 2013.

Mae’n hanfodol, i ddechre, i unrhyw hwylusydd neu actor mewn amgueddfa pan yn ceisio bywiogi darn o hanes i wneud ei waith ymchwil ei hun. Rhaid darllen y ffeithiau wrth gwrs, gwrando ar unrhyw dystiolaeth sydd ar gael yn yr archif, a chael gweld gwrthrychau priodol o’r casgliad - ond hefyd yn ychwanegol i hyn oll mae’n rhaid ymgolli eich hun yn llwyr yng nghefndir a chyfnod yr hanes yn gyffredinol.

Mae’n bwysig i ffurfio perthynas dda gyda’r curaduron, ac unrhyw arbennigwyr arall sydd yn gweithio I’r sefydliad, a thrwy’r unigolion hynny cael mynediad i lu o adnoddau defnyddiol arall i sicrhau bod y sesiwn neu weithdy yn un a sail hanesyddol gywir iddo.

Gweithio Gydag Atgofion

Y stop gyntaf i mi wrth droedio nol i orffennol y siop oedd i gysylltu a Mark Lucas, Curadur y Diwydiant Gwlân, a fi’n gyfrifol am gasglu’r hanes at ei gilydd.

Fe rhoddodd bentwr o ffeil i mi i ddechrau, yn cynnwys copi o fywgraffiad bywyd a hanes teulu Emlyn Davies a ysgrifennwyd gan ei wŷr Alan Owen: Emlyn Davies: The Life & Times Of a Dowlais Draper in the first Half Of The Twentieth Century.

Un o’r profiadau mwyaf cyffrous i mi yn y broses yma o adfywio hanes yw i gael cyfarfod mewn person a phobol sydd ynghlwm yn uniongyrchol â’r hanes. Diddorol oedd nodi bod Mark Lucas mewn cysylltiad rheolaidd a Alan Owen, a bod cyfle i mi gyfarfod ag ef i holi cwestiunau - mwy am hyn yn y blog nesa!

Our new exciting, family-friendly exhibition Wriggle has now opened and delves into the wonderful world of worms. As part of this exhibition we have put together a display of some very historic worm models made of glass. These are from a part of our collections called the ‘Blaschka glass model collection’. The models were made by the German glass-worker and naturalist Leopold Blaschka, along with his son, Rudolf, in the latter half of the 1800s’. This period was a time of great scientific discovery and new museums were opening to the public with their galleries displaying fossils, plants and animals from across the globe.

However many types of animal and plant specimens are very difficult to preserve and display, particularly soft-bodied animals, such as jellyfish, marine worms and sea anemones. The best method is to preserve in some sort of preserving fluid such as ethanol or formaldehyde but colours quickly faded and their shapes became distorted. Leopold Blaschka devised a solution to this problem by using his glass working skills to accurately model these animals out of glass. Together with his son, he went on to establish a successful business supplying glass models, mostly of marine animals, to museums worldwide during the latter half of the 19th century.

Initially the Blaschkas relied on illustrations in books as sources of reference for the glass animals, and many of the models are three dimensional representations of animals that they never saw in reality. However, in later years they increasingly based the models on their own observations of real animals, either during field trips or from live specimens in specially built aquariums in their house. This development in their naturalist skills is seen in the models as over time they became increasingly scientifically accurate.  

Amgueddfa Cymru has an extensive collection of these historic glass models representing a wide range of sea creatures such as sea slugs, sea cucumbers, marine worms, cephalopods and sea anemones. A selection of these models is on permanent display in the Marine galleries both as part of a stand-alone case, and as part of the surrounding displays. However for the Wriggle exhibition we have also put together a display case of all our worm related Blaschka glass models. Some of these models have not been on display for many years, and required delicate conservation work to enable their handling and display in the exhibition. A good example is the life series of three enlarged models of the marine worm Proceraea cornuta. All three of the models had been previously damaged in some way and careful conservation work was required to anable their safe display.

Also on display are models of commonly found species from our seashores such as the lugworm Arenicola marina and the ragworm Perinereis cultrifera.

The models of the leech Pontobdella (Hirudo) vittata and the Peacock worm Sabella pavonina are also notable in that they are still mounted on the packing card the Blaschkas’ would have originally shipped the models out on.

However personal favourites are the models of two tube living worms - the sand mason worm Lanice conchilega and the exquisite sphagetti worm Pista cretacea. Both have dense tentacle crowns which becomes an astonishing piece of craftsmanship and taxonomic accuracy when fashioned in glass!

Further information on the museums Blaschka glass model collectin can also be found online at http://www.museumwales.ac.uk/en/rhagor/galleries/blaschka/ .

In the summer of 1951 a large-scale quilting exhibition was staged at St Fagans as part of Wales’ contribution to the Festival of Britain. Billed as ‘the largest, most comprehensive and the most interesting of its kind ever staged in the Principality’, the exhibition – organized jointly with the Monmouthshire Rural Community Council – showcased the work of 60 contemporary quilters, alongside historic examples from the Museum’s collection and private owners. The Banqueting Hall – a vast pavilion-like structure in the grounds of St Fagans Castle – provided a dramatic setting for the display, the likes of which had not been seen at the newly-established Museum before.

Call for entries

Although the exhibition ran for little over three weeks (16 July-18 August), it was the culmination of months of planning, led by Mr D. L. Jones of the Welsh Rural Industries Committee. In keeping with the Museum’s founding principle of inspiring a new generation of makers, the show included daily demonstrations and prizes for the best contemporary work on display. In February of that year, a final call for entries was published in the Western Mail:

Although we have received a record entry for the National Quilting Exhibition… it is not too late to receive further entries… Substantial prizes and certificates of merit will be awarded to successful candidates, and it will undoubtedly provide an excellent opportunity for Welsh quilters to show our oversees visitors that they still possess the skill of their forebears in this one remaining traditional needlecraft.

Competition

The work submitted for the exhibition included large and small quilts, cot covers, bonnets, dressing gowns and dressing jackets. In total, 65 original, hand-quilted pieces were chosen for display by the selectors. The judging panel included Mavis FitzRandolph who, under the auspices of the Rural Industries Bureau, had been instrumental in setting-up quilting classes in the industrial heartlands of south-east Wales during the 1920-30s Depression. The aim of the scheme was to revive and improve the standard of Welsh quilting, therefore enabling young women in economically deprived communities to earn a living making by hand. Many of those who won prizes at the 1951 exhibition were taught to quilt under this scheme, including Irene Morgan of Porthcawl - one of the best quilters of her generation. Originally from Aberdare, Irene began to quilt in the late 1920s and subsequently became a nightclass teacher in the Bridgend area, until the onset of glaucoma stopped her from stitching in the 1960s. Her prize winning certificates from the 1951 exhibition were donated to the Museum following her death in 2000.

The future - Gweithdy

Emulating the spirit of the 1951 exhibition, exciting plans are afoot here at St Fagans. A new gallery called Gweithdy is currently being built in the Museum's grounds which will be a celebration of making by hand in Wales through the centuries. As well as having objects on display – including several quilts and other textile crafts – the new gallery will be designed very much like a workshop, with spaces for people to have-a-go at making, and to enroll on craft courses. Needless to say, we are all hugely excited about this development – a new chapter in our history as a museum which, we hope, will inspire the makers of the future.

Mae’n anodd credu bod Gŵyl Fwyd Sain Ffagan ar y gorwel unwaith eto. Y llynedd, gofynnom i chi drydar eich hoff ryseitiau teuluol atom. Cawsom ymateb gwych gennych, diolch eto i bawb a gymerodd ran, gan ein galluogi greu arddangosfa hyfryd yn Sefydliad y Gweithwyr Oakdale dros yr Ŵyl.

Fel rhan o’r Ŵyl eleni, rydym yn lansio fersiwn digidol o gyfrol Amser Bwyd, a’r fersiwn Saesneg Welsh Fare, sef casgliad o ryseitiau traddodiadol a gasglwyd gan Minwel Tibbott. Pan gychwynnodd Minwel yn yr Amgueddfa ym 1969, maes hollol newydd oedd astudio bwydydd traddodiadol. Sylweddolodd yn fuan nad trwy lyfrau oedd cael y wybodaeth, a theithiodd ar hyd a lled Cymru yn holi, recordio a ffilmio’r to hynaf o wragedd. Roedd eu hatgofion o’r prydau a ddysgont gan eu mamau yn aml yn dyddio nôl i ddiwedd y 1800au.

Bydd modd nid yn unig darllen y ryseitiau hyn, ond i glywed rhai o’r gwragedd yn disgrifio’r prosesau a’u gweld yn paratoi’r prydau.  Rydym ninnau yn awyddus i ychwanegu at y casgliad hwn, ac yn gofyn yn garedig, wrth i ferw’r Great British Bake Off afael ynom unwaith eto, i rannu eich hoff ryseitiau teuluol gyda ni. Hoffem hefyd ychwanegu at ein casgliad o luniau o bobl yn cyd-fwyta a dathlu – boed hynny’n bobl yn mwynhau eich creadigaethau, yn ddathliad teuluol neu ffrindiau yn dod yn hyd.

Gallwch drydar eich ryseitiau a’ch delweddau a’r manylion i @archifSFarchive neu ar dudalen Facebook Sain Ffagan gan ddefnyddio’r hashnod #Ryseitiau #GwylFwyd. Fel arall, dowch â nhw i’r Ŵyl Fwyd, ac mi nawn ni eu sganio yn Sefydliad y Gweithwyr. Bydd y cyfan – yn ogystal â ryseitiau'r llynedd i’w gweld ar Gasgliad y Werin Cymru.

Cadwch lygaid ar y prosiect hwn drwy ddilyn cyfrifon trydar @archifSFarchive ac @SF_Ystafelloedd a’r hashnodau #GwylFwyd #Ryseitiau #AmserBwyd.