: Bloedd

When it came to writing this article, my thought space had been taken to the theme of journeys; the unknown ground between a beginning and an ending. My journey as a young producer for Bloedd’s latest project, an LGBTQIA+ oral histories exhibition, has been a nearly yearlong one. What began as conversation in a shared space containing mutual interests and passions, defined the nucleus of my work here. The beginnings of this time had been an unpacking of what we felt as a collective was important to represent for an upcoming exhibition. We knew from the jump that we wanted to represent voices that may often go unheard; those whose experience may not be recounted upon by the mainstream perception of what it means to live an LGBTQIA+ life. 

Moving away from the typical portrait of queerness being a thrown brick in protest, that while important, we are more than our fight for freedoms; our stories can be found in the everyday, in the places we visit, the jobs we keep, the people we love and share our lives with. The given name of this exhibition, Ours to Tell, came only after we had completed our collection of stories, the self-described journey we undertook over several months of visits and interviews, holding dialogue with well over fifty years of experience. But what is in a name? Ours to Tell is a reclamation. It’s our way of saying “here is a story, told by a firsthand account of the storyteller”. It’s our way of saying “these words are cut from a book hidden away in the attic of my mind. I’ve ventured into the attic, and I’m dusting it off for you.” It’s our way of saying “this is where I come from”. 

While the journey of this project has been underpinned by a great deal of planning and preparation, what you can’t prepare for is what you might uncover in someone else’s story. You commit to the routine of presenting a series of questions, from you to the storyteller, with only a table between you. It comes as a surprise the level of detail, which is excavated by the storyteller, they are like a hoarder being handed a stepladder, invited to dig up their stowed away possessions from the attic. Your questions are prompts: “when did you first see your identity reflected in someone else?”, “what does a safe space look like to you?”, the list goes on. The exciting part is that you don’t know what’s coming next, and you are there, alongside the storyteller, who guides you through a journey which may well bring up a familiarity or nostalgia for the listener. During these times when I’ve had the great pleasure to listen to these stories, I can confidently say that I have felt every kind of emotion in response. I laughed. I have cried. I have been moved. I have been taken on a journey.

Enabling the participants of this project to confidently speak about their experiences has proved an undeniable joy, though I cannot understate how this project has affected those coordinating its launch. Fellow young producer Joss Copeman, like me had been drawn to this exciting opportunity, Copeman’s “personal work is largely centred around queer narratives and themes of identity and the self.” The journey which unfolded from Ours to Tell has been greatly beneficial, as it pertains to young LGBTQIA+ creatives and makers, taking inspiration from unheard voices, now affected and transformed by echoes of their experience. This is a feeling I know will resonate with the audience, and I can only hope it will stir others in future, to share what might be put away, gathering dust in the attic. 

I’d like to conclude with a quote that shook me like a cat in a tree, “Art is not just for oneself, not just a marker of one’s own understanding. It is also a map for those who follow after us.”

Written by Ivy Kelly, Amgueddfa Cymru Producer (Bloedd).

Bloedd is the platform for youth engagement at Amgueddfa Cymru.

Gwnaeth adroddiad State of Caring 2019 Gofalwyr Cymru amcangyfrif fod 400,000 o ofalwyr yng Nghymru y llynedd. Roedd Cyfrifiad 2011 yn gosod y ffigwr llawn fel 370,000 neu 12% o’r boblogaeth, gyda 30,000 o’r gofalwyr hynny o dan 25 oed a nodwyd fod gan Gymru y gyfradd uchaf o ofalwyr o dan 18 oed yn y DU. Mae’r ffigurau hyn i gyd yn cyfeirio at ofalwyr di-dâl, sy’n cefnogi oedolyn neu blentyn gydag anabledd, salwch corfforol neu feddyliol, neu sydd yn cael eu heffeithio drwy gamddefnyddio sylweddau. Nid yw’n cynnwys y rheiny sy’n gweithio mewn swyddi gofal am dâl.

Amcangyfrifir y bydd y rhan fwyaf ohonom, tri allan o bump, yn dod yn ofalwr ar ryw bwynt yn ystod ein bywydau.

Wrth ystyried y rhifau anferthol hyn a’r ffaith fod y rhan fwyaf ohonom eisoes naill ai’n cael ein heffeithio, neu’n mynd i gael ein heffeithio, pam nad oes mwy o sôn am ofalwyr? Un rheswm efallai yw bod gofalwyr yn rhy brysur yn gofalu. Rwyf innau wedi bod yn ofalwr, a chyn ymuno ag Amgueddfa Cymru treuliais 30 mlynedd yn gweithio mewn gwasanaethau gofal iechyd a chymdeithasol, ac yn ystod yr adeg honno rwy’n amcangyfrif fy mod wedi gweithio gydag ychydig filoedd o ofalwyr. Mae fy mhrofiad a’m hymchwil helaeth wedi dangos fod nifer o ofalwyr yn profi unigrwydd ac ynysu cymdeithasol, yn dioddef o iechyd meddyliol neu gorfforol gwael eu hunain, a phwysau ariannol, o ganlyniad i’w rôl fel gofalwyr. 

Felly beth mae hyn yn ei olygu i Amgueddfa Cymru? Un o’r amcanion ar gyfer ein strategaeth 10 mlynedd, a gaiff ei chyhoeddi yng Ngwanwyn 2021, yw ein bod yn berthnasol i bawb ac ar gael i bawb; un arall yw ein bod yn canolbwyntio ar iechyd a lles i bawb. Mae gan ein rhaglen ymgysylltu gymunedol ystod eang iawn o ffyrdd i bobl sydd ag anghenion gofal (yn sgil iechyd, anabledd neu amgylchiadau eraill) fod yn rhan o weithgareddau’r amgueddfa fel ymwelydd neu drwy ein rhaglenni gwirfoddoli ac addysg. Croesawn ofalwyr drwy gyfrwng y mentrau hyn ac mae nifer o ofalwyr sydd wedi cymryd rhan, ond nid oes gennym eto lawer iawn o adnoddau sydd wedi’u cynllunio o gwmpas anghenion gofalwyr. 

Wrth edrych ymlaen at flwyddyn nesaf, mae’r Tîm Gwirfoddoli yn awyddus i ddarparu cyfleoedd sydd wedi’u cynllunio’n benodol ar gyfer gofalwyr. Gall hyn gynnwys gwirfoddolwyr sy’n gallu cefnogi gofalwyr wrth ymweld â’n hamgueddfeydd, neu, gall olygu cynllunio cyfleoedd gwirfoddoli i ofalwyr sy’n gweithio o amgylch gofynion gofalu. Ar hyn o bryd rydym yn dychmygu cymysgedd o opsiynau o ran presenoldeb – rhai cyfleoedd i ofalwyr fynychu neu ymuno â rhywbeth ar eu liwt eu hunain, eraill lle y gall gofalwyr wneud hynny gyda’r person y maen nhw’n gofalu amdanynt. 

Y darlun arferol o ofalwr yw rhywun hŷn, yn gofalu naill ai am riant oedrannus neu bartner. Mae sawl gofalwr yn gweddu’r disgrifiad hwnnw, ond mae yna hefyd fwy o bobl ifanc a phlant yn gofalu nag y mae’r rhan fwyaf o bobl yn ymwybodol ohono, ac mae gofynion gofalu mewn perygl o gael effaith andwyol ar eu haddysg, eu datblygiad ac ansawdd eu bywyd yn gyffredinol. Rydym felly yn cynllunio i gynnwys rhai cyfleoedd sydd wedi’u hanelu’n benodol at ofalwyr ifanc.   

Mae pobl o bob cymuned yn wynebu cyfrifoldebau gofal, a allai mewn rhai achosion fod yn fwy heriol yn sgil gwahaniaethu systemig ac anfantais. O’m profiad innau yn gofalu am fy mam-gu Iraci, gwelais fod y gwasanaethau cymorth oedd ar gael â bwriad gwirioneddol i groesawu pawb, ond bod bron pob un ohonynt wedi eu trefnu o amgylch arferion, ffyrdd o fyw, a phrofiadau bywyd poblogaeth Gwyn Prydeinig. Nid oedd y bwyd a’r gweithgareddau a gynigiwyd, a’r pynciau a drafodwyd (er enghraifft mewn therapi Atgof), yn berthnasol nac yn cynnig cysur iddi hi mewn unrhyw ffordd. Nid wyf yn awgrymu fod hyn yn rhoi dealltwriaeth i mi o brofiad rhywun arall, nid ydyw, ond mae yn rhoi dealltwriaeth i mi o gyfyngderau gweithredu un dull yn unig. 

Felly rydym yn ymwybodol y bydd angen i ni weithredu mewn modd amrywiol a gofalus, a dyma lle hoffem ofyn am eich cymorth. Rydym wedi llunio arolwg sy’n amlinellu rhai o’n syniadau hyd yma, ond hoffem hefyd glywed oddi wrthoch chi os ydych chi’n ofalwr neu wedi bod yn ofalwr yn y gorffennol. Os nad ydych yn ofalwr, byddem yn ddiolchgar pe baech yn medru ein helpu drwy rannu hwn gyda gofalwyr yr ydych yn eu hadnabod. 

Mae’r arolwg yn lansio ar Ddiwrnod Hawliau Gofalwyr ar 26 Tachwedd, ac ar yr un diwrnod rydym yn trefnu trafodaeth fyw ar-lein (gyda thocyn digwyddiad am ddim i bob gofalwr sy’n ymuno â ni). Gallwch ddod o hyd i fanylion ynglŷn â sut i gymryd rhan, a hefyd gweld y sesiynau ‘blasu’ ar yr un diwrnod, drwy gyfrwng tudalen Gwirfoddoli ar ein gwefan: https://amgueddfa.cymru/cymrydrhan/gofalwyr

Earlier this year I was presented with the chance of a lifetime, a paid opportunity to develop my professional career and expand my portfolio. I applied for an artist in residency with Amgueddfa Cymru - National Museum Wales, to work with their museum volunteers up and down the country, to create a project that would celebrate 10 years of the volunteering program. After a thoroughly exciting interview process, I was asked to join the team.

Fast forward 6 months and my Artist Residency has now reached a close. I’m very happy with the work I have created; it showers the volunteering hub in colour and celebrates the amazing contribution volunteers have given to the museum. It fills me with joy to share my work with such an enthusiastic cohort of volunteers from all walks of life.

I started designing the mural at the same time as touring the country and running creative workshops with volunteers. I had collected a long list of volunteer roles but understanding them in a way that helped me generate genuine visuals required meeting volunteers in person, visiting the sites and experiencing what they do first hand. Over a month or two, I managed to construct flowing imagery to turn into celebratory hanging banners - a design format that stood out during my research.

I created the design by hand, as I feel more comfortable using traditional techniques, then started the daunting task of rendering a digital copy of the work using Adobe Illustrator. Including this step was somewhat of a learning curve for me, but it’s been a valuable experience. Having a digital copy of the design meant that we could create prints for all the museum sites and a printed gift for each of the volunteers. It also sped up the painting process because it allowed me to use a projector.

Using string, pins and painters tape I divided the wall up into segments. Piece by piece I projected and copied details of the design upon the walls rough surface. The wall is made of lime rendering, which it turns out is not a very cooperative surface to paint on. It’s dry, so moisture from the paint is quickly absorbed which increases the amount of paint needed, the stroke count and the time it takes. It’s also rough, which slowly ruins brushes and pens.

Once the design was cartooned upon the wall, I chose to fill in large areas using low-pressure spray paint. This part of the process saved time and had the lucky benefit of creating a smoother plastic wrap over the wall. After filling the space with basic flat shapes I used brushes and pens to add details and definition with regular acrylic paints.

My goal was to create a design that was not only on brief, but functional, aesthetically pleasing and contained other layers of depth hidden below the surface. The hanging banner format is supposed to connote a sense of celebration and heraldry. The colour palette is reminiscent of the dyes used in the tapestries sewn by volunteers for Llys Llewelyn. I wanted the illustration style to be subtly influenced by welsh traditional craft and contain subtle suggestions of embroidery, slip-on cast tiles patchwork etc. I created the typeface used for the quotes contained in the artwork from some of the earliest welsh stone carvings found on a cross near Ogmore.

I’d been looking forward to the painting process since the very beginning, it was long and laborious but oh-so rewarding. Despite the fact that a large percentage of my wardrobe is speckled with a rainbow of vibrant acrylic, I really enjoyed physically crafting something.

I want to say the biggest thank you to everyone in the volunteering & community engagement department - especially Ffion & Haf - for checking in on me and giving me guidance and support, thank you to all the kind staff at St Fagans for making me feel welcome, thank you to the National Lottery Heritage Fund for providing the funding for this amazing opportunity, thank you to my partner Elin for driving me everywhere, but most of all the volunteers who have truly enriched my experience.

The last 6 months have been the best of my life. It has been so rewarding to work in a creative role where I feel valued. I’m going to miss working at Amgueddfa Cymru. 

If you'd like to know more about the project as it was happening you can have a look at Robin's previous blog https://museum.wales/blog/2019-06-20/ARTISTS-PROJECT-Celebrating-10-Years-of-Volunteering/

A few months ago, I was given the opportunity of a lifetime. I was invited to work at Amgueddfa Cymru as an artist in residence and asked to organise a project to celebrate 10 years of the volunteer programme. The project has consisted of a series of creative workshops with volunteers at sites across the country, which have fed into the creation of a celebratory artwork.

My name’s Robin Bonar-Law, I’m a self-taught artist and graphic design graduate of Falmouth University. From the time of my graduation up until my residency, I have been working in the catering industry so my artistic outlet has been primarily restricted to latte art. The creative industries are incredibly competitive and coming from a low-income family I have often felt stifled by a lack of social mobility. I take portrait commissions and enter competitions when I can but over the coming years, I would like to make the rewarding leap into self-employment by becoming a freelance mural artist.

Early this year I applied to an artist opportunity based at St Fagan’s. After a thoroughly exciting interview process, I was asked to join the team and given an open brief, ‘Create an artwork that is inspired by the volunteers and showcases the amazing contribution they have given to the museum. The process should also include a series of creative workshops with volunteers.’ With over 900 volunteers this year alone this was no small task, nonetheless, overflowing with unbounded enthusiasm and a sense of freedom (from the coffee shop) I got to work planning.

The project is split into two main components; the workshops and the final artwork. I love drawing and wanted to run a series of ‘mark-making’ workshops that help re-introduce the volunteers to the idea of drawing as something that’s fun and relaxing. By normalising and simplifying drawing through a series of games and activities, I hoped to make it less daunting and something relaxing that they may enjoy doing brief moments of spare time.

As well as allowing me to teach the volunteers new drawing techniques the workshops served as a time for the volunteers to teach me about their roles and experiences at the museum. From the beginning of the project, I have wanted to create an authentic artwork that represents the true collaborative spirit of the volunteer workforce and the best way to do that is to meet them and get their personal input. Visiting the sites and talking to members of staff was another valuable resource.

I have met such a large number of enthusiastic and happy volunteers, they are all equally passionate and have truly enriched my experience. The workshops have been far more rewarding than I could ever have expected, I hope the volunteers enjoyed them as much as I did.

My favourite part of any project like this is the final, hands-on crafting of a design, but there’s no point rushing into it without a strong design process as a foundation. Alongside the workshops, I started amassing a large pool of research to help shape the direction of the artwork. I gathered inspiration from celebratory imagery such as friendly society banners, religious artworks, Flags, political/social murals etc. I also furthered my knowledge of Welsh craft and traditions by meeting with curators, visiting volunteers outside of workshops and making use of the information on display to the public. I wanted to create a final piece with mulitple layers of complexity; representing the wildly diverse range of roles, having that celebratory feel and being reminiscent of the traditional craft that imbues each site.

I am in the final stages of the design process and putting the finishing touches to my artwork. Once complete, the modular, hanging banner inspired artwork will be transformed into a majestic, megalithic and meaningful mural adorning the walls of Tŷ Gwyrdd (the new volunteer hub) and made into a digital print for each of the 7 museums around Wales. It will also be made into tote bags and given to each of the volunteers. From the very beginning, I have wanted to create a purposeful artwork that rejuvenates and enriches the volunteer spaces, fostering an environment that helps individuals find a sense of well-being, pride and identity. I can’t wait to show you all the finished product.

I am incredibly grateful for the museum and all the staff that have given me this once-in-a-lifetime opportunity.

Robin's placement was funded by the Hands on Heritage youth project at Amgueddfa Cymru, which is supported through the National Lottery Heritage Funds ‘Kick the Dust’

Hi, I’m Thea, a sixth form student from Shropshire who decided to create this short video as part of my work experience at the National Museum Cardiff.

I had heard about Who Decides? before I became involved in the exhibition, so I was very eager to find out more. After working with the public opinion cards, speaking to the people involved in the museum and doing some short interviews, I created an animation that I thought would best reflect the aims of exhibition and the feedback it had received.

I am passionate about art and against the idea that art and museums are ‘elitist’ or should be for the ‘privileged’ rather than the majority, so I wanted to focus on this issue in the video.

Working with the Wallich

The exhibition itself was incredibly eye opening for me; the museum had decided to work with the charity The Wallich to involve people with experience of homlessness in the process of designing and creating the exhibit and gives the public the chance to choose some of the artwork on display. I haven't seen an exhibition that has ever taken this kind of approach, so I found it intriguing to see how others reacted to the idea.

I hope this refreshing approach to curation will be an archetype for future exhibits and museums because it challenges what we usually connote with galleries and exhibits and hopefully encourages more people to visit exhibitions and museums.

Who Decides? is on show at National Museum Cardiff until 2 September 2018. You can also contribute to Who Decides? by voting for your favourite work to be ‘released’ from the store and placed on public display.