: Amgueddfeydd, Arddangosfeydd a Digwyddiadau

‘What a vista of possibilities is opened up in this wonderful discovery … Surely it marks the dawn of a new era – with what results, who can tell?’

Gyda’r geiriau hyn, agorodd Arglwydd Faer Caerdydd, yr Henadur Dr J. J. E. Biggs, Orsaf Caerdydd y Cwmni Darlledu Prydeinig am 5.00pm ar 13 Chwefror 1923. Ychydig fisoedd ar ôl i’r BBC ddechrau darlledu o’i orsaf yn Llundain gyda’r arwydd 2LO, roedd gan Gymru ei gorsaf ei hun – 5WA – a oedd yn dod ag arlwy o gerddoriaeth, sgyrsiau, a gwasanaethau crefyddol i wrandawyr yng Nghaerdydd, cymoedd de Cymru, a thros Fôr Hafren mewn rhannau o orllewin Lloegr.

Dechreuadau di-nod

O’r dechreuadau di-nod mewn stiwdio fechan uwchben sinema yn Stryd y Castell, tyfodd y BBC yng Nghymru i chwarae rhan bwysig ym mywyd y genedl. Er gwaethaf cael ei gosod yn yr hyn a elwir yn ‘Rhanbarth y Gorllewin’ yng Nghynllun Rhanbarthol y BBC yn y 1930au, arweiniodd pwysau gan sefydliadau, grwpiau ac unigolion o bob rhan o Gymru at sefydlu’r Rhanbarth Cymreig yn 1937, gan roi ymdeimlad clir o hunaniaeth i’r genedl. Yn wir, dadleuodd yr hanesydd, John Davies, unwaith fod Cymru yn endid gafodd ei chreu gan ddarlledu.

Roedd dyfodiad teledu ac agor trosglwyddydd yng Ngwenfô ym mis Awst 1952 yn dechrau ar gyfnod newydd yn hanes y BBC yng Nghymru. Fodd bynnag, gan nad oedd trosglwyddyddion yn parchu ffiniau cenedlaethol, roedd Cymru unwaith eto wedi’i ‘chlymu’ â gorllewin Lloegr, a arweiniodd at gwynion ar ddwy ochr y sianel. Roedd y penderfyniad i greu gwasanaeth BBC Cymru Wales ym mis Chwefror 1964 yn gam i geisio datrys y sefyllfa. Roedd yn ofynnol i'r BBC gynhyrchu 7 awr o raglenni Cymraeg a 5 awr o raglenni Saesneg i Gymru. Arweiniodd pwysau cyhoeddus pellach a dealltwriaeth gynyddol o anghenion Cymru ar ran rheolwyr y BBC yn Llundain at sefydlu gorsafoedd radio cenedlaethol Radio Cymru a Radio Wales ar ddiwedd y 1970au. Newidiodd sefydlu S4C yn 1982 dirwedd darlledu Cymru ac mae’r BBC yn parhau i chwarae rhan fawr yn llwyddiant y sianel.

Dyfodol y BBC

A beth am ddyfodol y BBC yng Nghymru? Wel, mae radio yn dal ei dir yn dda yn yr oes aml-lwyfan. Roedd gan Gymru’r gyfran fwyaf o wrandawyr radio nag unrhyw wlad arall yn y DU ac mae teyrngarwch i orsafoedd y BBC yn amlwg. Mae teledu, ddaeth i Gymru ychydig dros 70 mlynedd yn ôl, yn wynebu heriau gan wasanaethau ffrydio ond mae’n parhau i hysbysu, addysgu a diddanu. Mae bygythiadau gan lywodraeth y DU sy’n cwestiynu holl raison d’etre darlledu gwasanaeth cyhoeddus ac mae’r ffî drwydded wedi’i gwestiynu (er ei bod yn ymddangos bod y ddadl benodol honno wedi tawelu … am y tro).

Beth bynnag yw eich barn am y BBC, does dim dwywaith bod y Gorfforaeth wedi chwarae rhan ganolog ym mywyd Cymru ers canrif.

Penblwydd Hapus BBC Cymru Wales – a hir oes!

Jamie Medhurst

Athro’r Cyfryngau a Chyfathrebu

Prifysgol Aberystwyth

Mae arddangosfa BBC 100 yng Nghymru yn Amgueddfa Genedlaethol Caerdydd nes 16 Ebrill 2023.

A sad fact is that this disappearance is mirroring what is happening in the outside world. Birds are suffering a pandemic of their own, the worst outbreak of avian flu ever known in the northern hemisphere. A new strain of bird flu has been attacking bird populations since the autumn of 2021, spreading from intensively farmed poultry in China. By late spring of 2022 there were increasing reports of the disease in seabird colonies in the north of the UK, and this has now spread across the whole of the country.

Avian flu is a virus that affects a range of birds but as with other viruses there are many different strains, most of which cause few or moderate symptoms. The difference is that this current strain, HPAI H5N1, is transmitted easily and causes symptoms that can be fatal to birds.

The effect on wild bird populations has been devastating, particularly on sea birds who live in large dense colonies along cliffs and islands where the virus is easily transmitted. It is estimated that tens of thousands of birds have died - you may well have seen some of the footage of dead or dying birds or even seen dead birds along our coasts.

In the UK we are privileged to host internationally important breeding populations of seabirds, a whopping 25% of Europe’s breeding seabirds. Worst affected species are the Great Skua and Northern Gannet populations. Up to 11% (over 2,200 birds) of the UK population of Great Skuas have been lost and scientists have recorded such high numbers of Gannet deaths that they think some populations are near collapse. 

The situation is continuing to be monitored, particularly with waterfowl, like geese, who overwinter in the UK. The hope is that populations will eventually develop an immunity to the disease, and there have been some encouraging signs in some birds, like Puffins, who seem to have had a good breeding year in 2022.

We hope to see the return of our seabirds both in the galleries and along our coasts soon!

You can find more information and recent updates on the situation in Wales here: Avian influenza (bird flu): latest update | GOV.WALES. You can also read a more detailed blog about it on The Wildlife Trust blog pages: Avian flu – the latest symptom of our ailing ecosystems | The Wildlife Trusts.

If you want to help, there are several organizations appealing for support to help monitor the situation and help seabirds recover: The British Trust for Ornithology (BTO): BTO Avian Influenza Appeal | BTO - British Trust for Ornithology and RSPB: Bird Flu Emergency Appeal Donation Form | The RSPB.

If you find dead wild birds, you should follow the latest guidance on GOV.WALES (Report and dispose of dead birds | GOV.WALES) or GOV.UK (Report dead wild birds - GOV.UK (www.gov.uk)) or  webpages. Remember not to touch or handle any dead or sick birds.

For a handy guide to identifying Welsh coastal birds, download our Nature On Your Doorstep spotters guide: Spotter's Guide | Museum Wales

Autumn sends us an invitation to pause and admire the beautiful trees that surround us. It lays a vibrant carpet of colourful leaves welcoming us into the woods. In this once in a year spectacle, we advise that you wear comfortable shoes, take slower steps and mindfully redirect your gaze up to the sky to contemplate our magnificent trees. 

In St. Fagans National Museum of History, you can find some of the most beautiful specimens of trees planted by the Victorians and Edwardians that shaped our beautiful gardens. 

This year we celebrate the 150^th anniversary of the Fern-leaved Beech (Fagus sylvatica ‘Aspleniifolia’) located in the terraced gardens of the castle. This magnificent and unusual specimen was planted in 1872 under the head gardener William Lewis. This cultivar was introduced in the UK in the early 1800’s and won the RHS Award of Garden Merit in 2002. The leaves are dark green and deeply serrated, turning golden before falling in autumn. This specimen has an impressive dark and smooth trunk with its girth measuring 3.67m in diameter. The Fern-leaved Beech is a Chimera, originated from a plant cell mutation of the Common Beech (Fagus sylvatica). An interesting fact is that occasionally some of the serrated leaves revert to the Beech leaf shape, when that happens it is advisable to remove the reverted branches as they tend to grow more vigorously than the cultivar.

Another magnificent feature that celebrates 150 years in St. Fagans is the row of London and Oriental Planes planted by William Lewis along the formal ponds overlooking the terraced gardens.  The London plane is a natural hybrid of the Oriental Plane and the American Plane. The Oriental (Platanus orientalis) and London Plane (Platanus x acerifolia) are distinguishable by their leaf shape with the Oriental Plane having more deeply lobed leaves. Many London planes were planted over 200 years ago in the squares of London, hence its common name. This tree can withstand high levels of pollution and was one of the few trees that could thrive in the soot-laden atmosphere of cities before the passing of the Clean Air Act in 1956. Did you know that this resilient tree can store around 7.423 kg of Carbon at maturity? Large trees like this play an important role in improving air quality by sequestering carbon dioxide, removing air pollutants and absorbing gases that are harmful to human health.

William Lewis was also responsible for the planting of the Pine Walk in 1870. This beautiful avenue of Black Pine (Pinus nigra) and Scots Pine (Pinus sylvestris) guides you through the path towards the old Orchard. These tall and majestic trees enclose the space resembling the walls of a Cathedral. The bark of the Black Pine is dark grey with ridges and the needles are longer than other Pines. The Scots Pine is the only Pine native to Britain, it has shorter and compact needles and a warm red upper bark. Unfortunately, in recent years we have lost some of our Pine trees, in order to preserve this historic feature, we have planted four new Black Pines along the path. 

As we take pleasure in admiring these magnificent trees in the present, we must thank some of the far-sighted people of the past who have gifted us with this wonderful legacy. Trees make our cities a more pleasant and healthy environment. They enhance biodiversity, reduce flood risk, improve air quality, provide shade, and reduce the urban heat island effect in summer months. If you would like to leave a valuable legacy for future generations, start by planting a tree.  

If you are visiting St. Fagans gardens this autumn, follow this Tree Walk Guide written by Dr. Mary Barkham to learn more about our outstanding tree collection. 

Ar 28 Hydref byddwn yn dathlu can mlynedd ers i Amgueddfa Cymru agor ei drysau i’r cyhoedd am y tro cyntaf. Er mai yn 2007 oedd canmlwyddiant swyddogol yr Amgueddfa, yn nodi sefydlu’r Amgueddfa o dan Siarter Frenhinol yn 1907, roedd y daith i’w hagor yn broses lawer arafach, gyda chryn oedi, yr amharwyd arni gan anferthedd y Rhyfel Mawr. 

Ar ôl caniatáu’r Siarter, cyflogwyd penseiri i ddylunio’r adeilad newydd a gosodwyd y Garreg Sylfaen gan Siôr V ar 26 Mehefin 1912. Y bwriad gwreiddiol oedd cwblhau’r adeilad fesul cam, felly codwyd digon o arian i ddechrau ar y rhan ddeheuol (yn cynnwys y Brif Neuadd) o’r adeilad. 

Gosod y Garreg Sylfaen, 26 Mehefin 1912

Pan ddechreuodd y rhyfel yn 1914, parhaodd y gwaith i ddechrau, fel y dengys ffotograffau o 1915, ond cyn hir roedd diffyg deunyddiau adeiladu (yn enwedig dur a phlwm) a llafurwyr yn golygu y bu’n rhaid atal y gwaith. Pan ailddechreuodd ar ôl diwedd y rhyfel, roedd yr hinsawdd yn wahanol iawn. Profodd Prydain ddiweithdra a thlodi difrifol, a phlymiodd y wlad i ddirwasgiad o ganlyniad.

Adeiladu adeilad yr Amgueddfa ym Mharc Cathays, 1915

Yn erbyn y cefndir hwn, hyd yn oed gyda gwaith adeiladu yn parhau i fynd rhagddo, agorwyd rhan orllewinol y Brif Neuadd i’r cyhoedd ar 28 Hydref 1922. Bedwar diwrnod ynghynt roedd y byrddau hysbysu o amgylch yr adeilad wedi cael eu tynnu i ffwrdd, ac er na chynhaliwyd seremoni ffurfiol ar yr adeg honno, daeth Llys Llywodraethwyr yr Amgueddfa ar ymweliad arolygu, cyn mynychu cinio yn Neuadd y Ddinas gyda’r Arglwydd Faer ar y diwrnod cynt.

Golygfa o’r tu allan i’r Amgueddfa o’r de-orllewin

Yn ystod y pymtheng mlynedd ers ei sefydlu roedd yr Amgueddfa wedi bod yn cyflogi staff ac adeiladu casgliadau yn raddol. Ni chynhyrchwyd arweinlyfrau ar gyfer yr agoriad anffurfiol; ni chyhoeddwyd yr arweinlyfr cyntaf i’r casgliadau tan y flwyddyn ganlynol, ond mae erthyglau a ffotograffau a gyhoeddwyd yn y papurau lleol yn rhoi syniad inni o’r hyn y byddai’r ymwelwyr cyntaf hynny â’r Amgueddfa wedi ei weld.

Golygfa o’r Brif Neuadd yn edrych tuag at y grisiau gorllewinol

Yn y Brif Neuadd roedd cerfluniau mawr megis Y Gusan gan Auguste Rodin ac Ioan Fedyddiwr gan William Goscombe John. O’r Brif Neuadd gallai ymwelwyr fynd i Oriel Glanely (a elwir bellach yn Ganolfan Ddarganfod Clore) i weld casgliadau Daeareg, yn enwedig creigiau a mwynau a geir yng Nghymru. Yn yr oriel sgwâr ar hyd ochr arall y Neuadd roedd y casgliadau Sŵoleg, yn yr un man ag y maent o hyd, er bod yr arddangosiadau wedi cael eu diweddaru ers y dyddiau cynnar hynny!

Arddangosfa carlwm o’r Oriel Sŵoleg

I fyny’r grisiau yn Oriel Pyke Thompson (a elwir bellach yn Oriel 18), y prif bethau i’w gweld oedd darluniau dyfrlliw a fu’n eiddo i James Pyke Thompson ar un adeg a chasgliad o gerameg Cymreig a roddwyd gan Wilfred de Winton yn 1918. Ar draws y bont yn yr oriel sgwâr, roedd arddangosfa o baentiadau olew o’r Rhodd Menelaus. 

Oriel Pyke Thompson yn 1925

Nid oedd gan yr Adran Archaeoleg ei horiel ei hun ar adeg agor yr Amgueddfa yn 1922, gan y byddai’n rhan o’r adeilad a oedd yn dal i gael ei adeiladu. Ond, flwyddyn yn ddiweddarach cafodd gwrthrychau o’r casgliadau Archaeoleg eu harddangos yn y Brif Neuadd ac ar y balconïau, cyn symud i ofod mwy parhaol yn oriel flaen y llawr cyntaf (sydd bellach yn gartref i gasgliad o gerameg Cymreig). Erbyn 1925, mewn oriel yng nghefn y Brif Neuadd, roeddent hefyd wedi gosod yr Oriel Hynafion, gydag adluniadau o gegin Gymreig ac ystafell wely Cymreig, ac yn oriel flaen y de-ddwyrain ar y llawr gwaelod roedd y casgliadau Botaneg (sef ardal yr Herbariwm Cymreig bellach).

Yr Oriel Archaeoleg yn 1925

 

Parhaodd cynllun yr Amgueddfa fel hyn nes i’r orielau gael eu had-drefnu’n helaeth fel rhan o waith adeiladu’r adain ddwyreiniol yn y 1930au. Gwnaethpwyd newidiadau pellach ar hyd yr 20fed ganrif wrth i’r adain orllewinol gael ei hadeiladu yn y 1960au, ac yna ychwanegwyd orielau’r Bloc Canol yn ystod y 1990au cynnar. Os oes gennych chi ddiddordeb mewn dysgu rhagor am hanes Amgueddfa Cymru, bydd rhagor o flogiau ac erthyglau yn ymddangos ar ein gwefan dros y misoedd nesaf. 

Spirited is an immersive installation in honour of fractured African traditions that feed and underpin our island culture in Trinidad and Tobago.

The Vision

In dreaming this work we thought about women. We knew about Luisa Calderón whose torture became well known during the infamous 1806 trial of Picton. We found reference to Present (a young enslaved woman executed by Picton for attempting to run away), in a Bridget Brereton history book. V.S. Naipaul’s Loss of El Dorado informed us of Thisbe, who was accused of sorcery and condemned to death - hanged, decapitated and burnt at the stake - her head placed on a pole. These women are essentially our ancestors. We considered questions such as: what would they say if they were able to speak through us? How can we honour them and transform their suffering - scream into song, torture into dance?

On seeing the drawings of Luisa’s torture we imagined her suspended figure as an elegant dancer. Captivated by the beauty of the human form, that motif would become a feature throughout the final piece.

Mary-Anne has a beautiful phrase: “6 aunties and a grandma” -  embodying in many ways the kitchen space as a creative yard, a place for wisdom, disagreement, challenge, questioning and throwing lots of ideas into a pot - The kitchen, that yard aesthetic, was how we dreamed together. 

In dreaming, we imagined that anything was possible. We wanted to play with traditional and contemporary digital media and create an immersive journey, a dance.

The Work

While the kitchen yard aesthetic informed our dreaming, it was the Carnival yard aesthetic that informed how we made the work. At the heart of this was an invitation to be involved. 

Having worked in community arts, the intuition here was that, in order for people (such as museum staff) to have ownership over the work, they must feel part of it, so that they can deliver the message and share with others.

The making involved:

Collecting, Twisting, Weaving - “A tapestry of memory and understanding” The woven newspaper was the most communal aspect of our work - chosen as a way of utilising a handmade, something-from-nothing Carnival making aesthetic.

Metal work - Led by Cindy, we worked with Cardiff Engineering Company on the large centrepiece gallows structure. The intricate music box with a chocolate-covered wire Luisa, is a micro reflection of the macro centre installation.

Video & Photography - We produced 3 videos, each speaking to a different aspect of the journey we were symbolising through the 3 women. The photographs  aimed to re-imagine a childhood for Present, our women and all whom they represent.

Soundscape - We approached the audio as a continuation of the weaving. We invited and commissioned 4 musicians and composers to contribute pieces based on their interpretation of the environment we wanted to invoke. Interwoven are the spoken words of Luisa from a translation of Governor Picton’s trial.

Everyday hurricane Passing - This acapella by Mary-Anne is an invocation for Grandmothers we never knew and Nennen, women who cared for us in their absence, to dance.

‘Everyday Hurricane Passing’ but despite destruction, invasion, derision, separation, obstruction, bombardment, intrusion and denial, ever resourceful, we dream, we create riches, we dance and fight, we raise.

Painting - In this we wanted to engage an idea of transformation, with a particular focus on Thisbe representing warrior and healer. The limited and bright colour palette is in deliberate high contrast to Picton’s portrait.

The women - The presence, the actions and the duties of women are all pervading in the Caribbean. Our men were not allowed to be there to protect us. Through the narratives we know and the narratives we imagine, we centre these women within our paintings, wire work, photographs, videos and chocolate. We dance with beauty and the macabre - we tell a story of the named and step into the unnamed collective - the procession of those killed, tortured, wounded and maimed.

Creating the environment - The spiral is an echo of the centrepiece moving outward and inward - symbolising the processional. The colours on the wall represent the vibration and intensity of Caribbean colour and flavour.

The Resonance

This work is a celebration - we are still here.

See Spirited for yourself as part of the Reframing Picton exhbition at National Museum Cardiff until 3 September 2023.